This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...) of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

This is an essay on Kant's neglected late tract On a Recently Adopted Prominent Tone in Philosophy (RTP) and Derrida's oblique commentary on this work in his D'un ton apocalyptique adopté naguère en philosophie. The theme of the essay is metaphilosophical and considers issues concerning the nature of critical philosophy, fanaticism (Schwärmerei), and the use of religious tropes in philosophy. I am primarily interested in the ways in which RTP thematises the legitimacy of speaking in an exalted, quasi-religious (...) class='Hi'>tone apropos of the authority of Reason as a self-legitimising capacity in philosophical speech. An important additional reason for taking a closer look at this text is because the late Jacques Derrida (1930–2004) took a great interest in this work of Kant’s and, indeed, emphasised, rightly I think, that despite its prima facie rhetorically charged, polemical nature this work—which might at first be taken to be merely a lampoon—is anything but insignificant in Kant’s œuvre. Derrida’s On a Recently Adopted Apocalyptic Tone in Philosophy, originally published in 1983, is an oblique commentary on Kant’s RTP, and aims to expose to view the alleged hidden underpinnings of Kant’s polemic against exaltation or fanaticism (Schwärmerei) in philosophy. Derrida tries to show that Kant’s appeal for tonal moderation in philosophy, for a measured speech, which should rein in exalted modes of speech, is itself not neutral and rather fundamentally biased against an exalted, quasi-religious, manner of thought. It is evident that, as he himself notes early on in RTP, Kant is predisposed towards a more Aristotelian, academic kind of philosophy, which adopts a “proper” tone or pitch in philosophical debate, but Derrida claims that Kant himself raises his voice precisely in lampooning exalted thinkers. I am particularly interested in the extent to which Derrida’s critique manifests a fundamental misapprehension of the Kantian mode of moderating critique. By expounding this misapprehension, Kant’s own reasons for his philippic against religious or quasi-religious talk in philosophy are foregrounded, thus showing the nature of properly critical thought. At the same time, I shall show how Derrida underestimates the self-reflexivity, and hence properly critical, self-authorising mode of thinking, underlying his own oblique references to the adieu as a trope for quasi-transcendental intentionality towards the so-called ‘Other’. (shrink)

Bullshit is not the only sort of deceptive talk. Spurious definitions are another important variety of bad reasoning. This paper will describe some of these problematic tactics, and show how Harry Frankfurt’s treatment of bullshit may be extended to analyze their underlying causes. Finally, I will deploy this new account of definition to assess whether Frankfurt’s definition of bullshit is itself legitimate.

The chapter studies the speculative realist critique of the notion of finitude and its implications for the theme of the "end of the world" as a teleological and eschatological idea. It is first explained how Quentin Meillassoux proposes to overcome both Kantian and Heideggerian "correlationist" approaches with his speculative thesis of absolute contingency. It is then shown that Meillassoux's speculative materialism also dismantles the close link forged by Kant between the teleological ends of human existence and a teleological notion of (...) the "end of the world." Speculative materialism no longer sees the end of thought, or the end of the thinking human being, as an insurmountable limit of conceivability, but rather as one contingent and possible event among others. This allows us to conceive an "end of all things" in a positive sense with regard to which the old eschatological hope for the end of the present world of injustice and for the emergence of a new world of perfect, "divine" justice becomes meaningful and legitimate in an entirely new sense. (shrink)

Abstract: If anger is the emotion of injustice, and if most injustices have prominent epistemic dimensions, then where is the anger in epistemic injustice? Despite the question my task is not to account for the lack of attention to anger in epistemic injustice discussions. Instead, I argue that a particular texture of transformative anger – a knowing resistant anger – offers marginalized knowers a powerful resource for countering epistemic injustice. I begin by making visible the anger that saturates the silences (...) that epistemic injustices repeatedly manufacture and explain the obvious: silencing practices produce angry experiences. I focus on tone policing and tone vigilance to illustrate the relationship between silencing and angry knowledge management. Next, I use María Lugones’s pluralist account of anger to bring out the epistemic dimensions of knowing resistant anger in a way that also calls attention to their histories and felt textures. The final section draws on feminist scholarship about the transformative power of angry knowledge to suggest how it might serve as a resource for resisting epistemic injustice. (shrink)

Theories of well-being that give an important role to satisfied pro-attitudes need to account for the fact that, intuitively, the scope of possible objects of pro-attitudes seems much wider than the scope of things, states, or events that affect our well-being. Parfit famously illustrated this with his wish that a stranger may recover from an illness: it seems implausible that the stranger’s recovery would constitute a benefit for Parfit. There is no consensus in the literature about how to rule out (...) such well-being-irrelevant pro-attitudes. I argue, first, that there is no distinction in kind between well-being-relevant and irrelevant pro-attitudes. Instead, well-being-irrelevant pro-attitudes are the limiting cases on the scale measuring how much of a difference pro-attitudes make to the subject’s well-being. Second, I propose a particular scalar model according to which the well-being-relevance of pro-attitudes is measured by either their hedonic tone, or by the subject’s conative commitment. (shrink)

The words we call slurs are just plain vanilla descriptions like ‘cowboy’ and ‘coat hanger’. They don't semantically convey any disparagement of their referents, whether as content, conventional implicature, presupposition, “coloring” or mode of presentation. What distinguishes 'kraut' and 'German' is metadata rather than meaning: the former is the conventional description for Germans among Germanophobes when they are speaking in that capacity, in the same way 'mad' is the conventional expression that some teenagers use as an intensifier when they’re emphasizing (...) that social identity. That is, racists don’t use slurs because they’re derogatory; slurs are derogatory because they’re the words that racists use. To use a slur is to exploit the Maxim of Manner (or Levinson’s M-Principle) to signal one’s affiliation with a group that has a disparaging attitude towards the slur’s referent. This account is sufficient to explain all the familiar properties of slurs, such as their speaker orientation and “nondetachability,” with no need of additional linguistic mechanisms. It also explains some features of slurs that are rarely if ever explored; for example the variation in tone and strength among the different slurs for a particular group, the existence of words we count as slurs, such as 'redskin', which almost all of their users consider to be respectful, and the curious absence in Standard English of any commonly used slurs—by which I mean words used to express a negative attitude toward an entire group—for Muslims and women. (shrink)

In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy of music, (...) which is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

It is often held that people have a moral right to believe and say whatever they want. For instance, one might claim that they have a right to believe racist things as long as they keep those thoughts to themselves. Or, one might claim that they have a right to pursue any philosophical question they want as long as they do so with a civil tone. In this paper I object to those claims and argue that no one has (...) such unlimited moral rights. In Part 1 I explore the value of the freedoms of thought and expression. In Part 2 I argue against the unlimited moral right to free expression, focusing in particular on the special obligations and moral constraints that obtain for academics. In Part 3 I argue against the unlimited moral right to free thought. (shrink)

This essay explores Wittgenstein’s encounter with Stumpf’s work in Tone Psychology during a rarely studied period in Wittgenstein’s early career when he worked as a researcher in Myers’s laboratory for experimental psychology in Cambridge. I argue that Stumpf’s emphasis on the notion of musicality as the ability to characterize what is ‘musical’ about music troubled Wittgenstein’s initial formulation of his career-long adherence to the comparison between language and music. In the Tractatus the importance of internal projective relations far exceeds (...) that of arbitrariness in language. This results in the curious elision of musicality in the Tractatus, as shown in his gramophone analogy. The acknowledgment of the enormous complexity pertaining to the facts of human life remained underdeveloped in Wittgenstein’s philosophy until the anthropological turn in his middle-period. Only then do we see the blooming of the language-as-music simile and its eventual impact on Wittgenstein’s later philosophy. (shrink)

What is the phenomenology of hope? A common view is that hope has a generally positive and pleasant affective tone. This rosy depiction, however, has recently been challenged. Certain hopes, it has been objected, are such that they are either entirely negative in valence or neutral in tone. In this paper, I argue that this challenge has only limited success. In particular, I show that it only applies to one sense of hope but leaves another sense—one that is (...) implicitly but widely employed in the hope literature—untouched. Moreover, I argue that hope construed in this latter sense is inherently positively valenced. The paper concludes by discussing some of the implications of this defense of hope's positive phenomenology, including the ontological question of whether hope is an emotion. (shrink)

When blame is understood to be emotion-based or affective, its emotional tone is standardly identified as one of anger. We argue that this conception of affective blame is overly restrictive. By attending to cases of blame that emerge against a background of a particular kind of hope invested in others, we identify a blaming response characterized not by anger but by sadness: reactive disappointment. We develop an account of reactive disappointment as affective blame, maintaining that while angry blame and (...) disappointed blame are both condemnatory responses, they have distinct evaluative foci and occupy different but complementary roles in our accountability practices. (shrink)

What kinds of mental states can be based on epistemic reasons? The standard answer is only beliefs. I argue that perceptual states can also be based on reasons, as the result of crossmodal interactions. A perceptual state from one modality can provide a reason on which an experience in another modality is based. My argument identifies key markers of the basing relation and locates them in the crossmodal Marimba Illusion (Schutz & Kubovy 2009). The subject’s auditory experience of musical (...) class='Hi'>tone duration is based on the reason provided by her visual representation of the length of the musician’s gesture and other stored perceptual principles. (shrink)

What does it mean to study places in ‘crisis’ and how does that affect the research done on the ‘rural’? To be considered to be in crisis is not really new as any literature review of rural studies indicates. And yet, we live now in a new context, with new challenges for ‘rural’ research, in particular that of sustainability. Sustainability is the new policy focus and is increasingly reflected in research on rural Europe. Although scholars are beginning to theorize on (...) what is sustainable in and for rural areas, our intention is to take this further. We theorize on what the focus on crisis and, increasingly on sustainability, means for the research we do and the knowledge we produce on rural Europe. Our aim is to bring attention to the politics of past and present knowledge production on the rural to be able to imagine just and sustainable futures. In an analysis of literature primarily from Sweden and the UK, we argue that two construals, that of a rural crisis and that of rural–urban polarization, have set the tone for rural studies and may have overshadowed a more plural approach. We outline what might be needed from rural research to meet future challenges and what the notion of sustainability, with its emphasis on the entanglements of the social, economic and environmental, might mean for the future of rural research. (shrink)

Narrated in the first person, Peter Carey’s novel about the life of Australian bushranger Ned Kelly incorporates other aspects of speech derived both from Carey’s personal experience and from the editorial process. Kelly's voice is toned down to some extent by virtue of the latter, introducing expressions Kelly himself would not have used. Identifying these elements, along with the specific attributes of Kelly’s own speech, enjoins a diversity of cultural and social groupings that intersect and, in some instances, compete with (...) or contradict one another. Shifts in speakers might be signalled by textual markers or by adopting different expressive qualities and speech patterns, which may or may not include a change in grammatical person. In this novel, at one instance, a shift in person is apparent, but I want to argue, not necessarily a shift in the identity of the speaker because, although the grammatical voice shifts, its qualitative features are largely unaltered. The shift nonetheless introduces a significant change. Paradoxically, as far as literary theory is concerned, the subjective qualities produced through voice mean that stylisations of speech may be indicative of character point of view, rather than what is understood to be narrative voice, because they might function in narrative as inflections of speech that do not correspond to the established voice of the grammatically instanced speaker—offering a focalised perspective instead. The shift in True History presents problems in these terms, however: the point of view instanced here is clearly that belonging to the speaker, though the voice is Kelly’s, for the narrator’s point of view determines the generality of the descriptive terms where once these were specific and personal. Had the novel been narrated wholly in third person, an unproblematic reading of Kelly’s point of view, suggested by the use of his voice, would be possible. But the shift undermines this—Kelly’s point of view gives way to another, instanced in the shift that takes place in narrative voice. Carey, in other words, inverts the convention. This is not an instance of free indirect style or discourse, where grammatical mood is at odds with the speaker’s position and tenses align with the implicated subject position of another. The same features of voice that might identify character point of view must, in absence of any disparity of mood or tone, function in respect to narrative voice to convey something of its speaker’s subjectivity, and this seems apparent here: the speaker shares Kelly’s subjective emotional and intellectual perspective, but no longer occupies the subject position. Carey’s voicing of the bushranger therefore complicates distinctions between voice and point of view by revealing qualitative features of voice to be important to the question of who is speaking the narrative. (shrink)

In this chapter I give an account of how our judgments of anger often play out in certain political instances. While contemporary philosophers of emotion have provided us with check box guides like “fittingness” and “size” for evaluating anger, I will argue that these guides do not by themselves help us escape the tendency to mark or unmark the boxes selectively, inconsistently, and erroneously. If anger—particularly anger in a political context—can provide information and spark positive change or political destruction, then (...) we have moral reasons to evaluate it properly. But can we? And what are the limitations and errors we often face when evaluating anger? -/- I will begin by laying out the ways in which we evaluate emotions and the moral and epistemic errors we attribute to the angry agent in judgments of disapproval. Then I attempt to answer the question: How do we judge political anger improperly? An improper evaluation, in my view, does not take into account relevant information that is needed to evaluate the anger. An overly generous, uninformed, biased, or selfish process of evaluation produces an improper evaluation. We see this occur when we immediately evaluate anger. I will also identify two social discursive practices of improper evaluation as well as the moral and epistemic errors committed when anger evaluators participate in these practices. (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)

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode of neoliberal (...) rationality so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

Material things have material (spatial) parts. Acts, events, occurrences, have phases, which we can view as their temporal parts. Spatial surfaces and volumes, stretches of time, they all have parts again; they can all be considered "extended". Entities, on the other hand, such as directions, numbers, temperatures, colors, tones, fictional characters, prices, numbers, values, ideologies, goals, are all unextended; they are partless. Let us call such non-extended objects “nodes”, in order to express the fact that we have a tendency to (...) grasp them as pure correlates of our thinking, often at the same time viewing them effectively as placeholders within systems of coordinates in various intellectual and social domains. My aim, here, is to clarify this rough idea of “node” for the purpose of providing a corresponding clarification of Ingarden's idea of a purely intentional object. I first consider purely intentional objects in general, and then focus in particular on fictional examples. (shrink)

This paper suggests that it is largely a want of notional distinctions which fosters the “explanatory gap” that has beset the study of consciousness since T. Nagel’s revival of the topic. Modifying Ned Block’s controversial claim that we should countenance a “phenomenal-consciousness” which exists in its own right, we argue that there is a way to recuperate the intuitions he appeals to without engaging in an onerous reification of the facet in question. By renewing with the full type/token/tone trichotomy (...) developed by C. S. Peirce, we think the distinctness Block calls attention to can be seen as stemming not from any separate module lurking within the mind, but rather from our ability to prescind qualities from occurrences. (shrink)

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation (...) between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine. (shrink)

In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...) a different kind; it is united with thorough and unmistakable distinctness. (p. 262) ... music expresses in an exceedingly universal language, in a material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will (p. 264). These quotations contain an outright paradox: the meanings of music should be at the same time universal in the highest degree and characterised by the greatest distinctness. As it turns out this paradox does not follow merely from Schopenhauer's liking for brilliant, rethorical formulations. For it occurs in many contexts concerned with the expressive meaning of art, and especially music. Other occurrences of the dilemma are to be found in the writings of Felix Mendelssohn-Bartholdy and in the aesthetic theory of Susanne Langer formulated in chapter VIII, >On the Significance in Music of her book Philosophy in a New Key and it would be possible to quote many other sources. The persistently recurring nature of this paradox confirms that the issue will be central to any attempt at a complete theory of musical meaning. Furthermore, it may be essential for it to be resolved first if one aims to make sense of the relationship between musical and linguistic forms of meaning and, consequent upon this, to address the much debated question of whether music itself can be considered to be a language of the emotions. An attempt at a solution to the paradox in question constitutes the subject of this paper. For this purpose the framework and some notions of Langer's theory are used. The solution which I propose takes the form of distinguishing between two distinct notions of generality (which I will term 'generality' and 'abstractness'), as well as two distinct notions of particularity (which I will term 'specificity' and 'concreteness'), and involves assigning technically precise meanings to these with a view to constructing two relatively independent oppositions: on the one hand the concrete versus the abstract and, on the other, the specific versus the general. (Hints at such a solution are to be found both in Schopenhauer and in Langer). With the help of these notions it is, I believe, then possible to show that the arguments often quoted to the effect that musical meanings possess a certain generality in fact justify no more than their abstractness, while arguments usually thought to demonstrate that they possess a certain particularity in fact show only their specificity (but not concreteness). Consequently, musical meanings are shown to be abstract but specific, which does not entail any contradiction since these notions are independent and not opposed to each other. At the same time, musical meanings may then be contrasted with linguistic meanings, which themselves are abstract and general. If, however, each of the notions of abstractness and generality is understood as also permitting gradations, it will be the case that whereas linguistic meanings may be said to be more general (i.e. less specific) than musical ones, the latter are without any doubt more abstract than the former. (shrink)

Slurs’ meaning is highly unstable. A slurring utterance like ‘Hey, F, where have you been?’ (where F is a slur) may receive a wide array of interpretations depending on various contextual factors such as the speaker’s social identity, their relationship to the target group, tone of voice, and more. Standard semantic, pragmatic, and non-content theories of slurs have proposed different mechanisms to account for some or all types of variability observed, but without providing a unified framework that allows us (...) to understand how different contextual factors simultaneously influence slurs’ interpretation. To address this issue, I argue that slurs convey dimensional qualities such as, e.g., ‘negative valence, neutral arousal, high dominance’ instead of discrete emotional categories such as ‘contempt’. Then, I translate this hypothesis into a game-theoretic model of slurs’ interpretation inspired by Heather Burnett’s pioneering work on identity construction. This new model, called ‘Affective Meaning Games’ (AMG), captures the variability of slurs and integrates pragmatic reasoning within an independently motivated psychological understanding of emotional states. (shrink)

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

Fear, anger and hopelessness were the most frequent traumatic emotional responses in the general public during the first stage of outbreak of the COVID-19 epidemic in the Czech Republic (N = 1,000). The four most frequent categories of fear were determined: (a) fear of the negative impact on household finances, (b) fear of the negative impact on the household finances of significant others, (c) fear of the unavailability of health care, and (d) fear of an insufficient food supply. The pessimistic (...) communications used by the Czech mass media contributed to intensifying traumatic feelings, fears and psychological distress in the general public during the outbreak of the COVID-19 epidemic. The anxious emotional tone of the messages and the presentation of selectively chosen “bad ending stories” contributed to the psychological traumatization of the Czech population. This form of communication was motivated by an effort to reach the broadest audience possible. Older adults were the most affected part of the population because of their isolation and their very limited opportunity to share their worries and emotions with others. The communication used by the Czech mass media during the outbreak of the COVID-19 epidemic is a representative example of a traumatizing form of media communication during an epidemic. (shrink)

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)

In the light of Philipp Sarasin's work in Darwin und Foucault: Genealogie und Geschichte im Zeitalter der Biologie, the article delineates a genealogically articulated naturally produced culture and a cultured nature and discusses the genealogical implications of a carnal, becoming self in a world that could rightly be justified "as an aesthetical phenomenon." The article demonstrates the historicity and processual materiality as a conceptual platform for a combination of the notions of experienced carnality and a socially constructed body, demonstrating such (...) a historically embedded carnal body as a binding agent for the "social constructivist" and "biologist" approaches in sciences. Thus, the article builds a framework for the articulation of senseful, processual materiality on the backdrop of a nature-culture continuum via genealogy, suggesting the necessity for change of tone in the communication of human and life sciences via the understanding of a culturally endowed biology. (shrink)

Counterfactual thinking—the capacity to reflect on what would, could, or should have been if events had transpired differently—is a pervasive, yet seemingly paradoxical human tendency. On the one hand, counterfactual thoughts can be comforting and inspiring (Carroll & Shepperd, Chapter 28), but on the other they can be anxiety provoking and depressing (Zeelenberg & Pieters, Chapter 27). Likewise, such thoughts can illuminate pathways toward better future outcomes (Wong, Galinsky, & Kray, Chapter 11), yet they can also promote confusion and lead (...) us astray (Sanna, Schwarz, & Kennedy, Chapter 13). The first part of this chapter focuses on work that supports the prevailing Zeitgeist in the counterfactual thinking literature: Counterfactual thinking is beneficial. The second part of the chapter, however, strikes a more cautionary tone by reviewing work that describes some deleterious consequences of counterfactual thinking. We conclude by offering a tentative reconciliation of these conflicting perspectives and suggesting directions for future research. (shrink)

"All-and-Nought" is the 2nd Edition of a series of books that study the nature of Reality and Being. The first edition of the book, "The Metaphysics of All-and-None", was published by Edwin Mellen Press in January 2022; since then the book has been under severe investigations and reviews by many scholars and pundits worldwide. The 2nd edition of the book contains the original text plus a foreword by Professor Richard Howells from King’s College London and some reports by Physicists, Biologists, (...) and others. Journal of Mind, one the most important journals in Philosophy, paid attention to the book and in its critical review article October 2022, encourages all philosophers and pundits to study the book. -/- The book's core concept is a Scientific/Mathematical, a-priori/synthetic theory called All'n'None Theory. It studies the Symmetry and Asymmetry in Reality and points to a state that indicates the deep Symmetry between "All Beings" and "Nothingness". It deeply studies the relationships between being and non-being from the perspective of Symmetry and symmetry failure and offers a measurement tool and a new method of studding phenomena. -/- It seems All`n`None Theory is a scientific breakthrough and discovery. The book methodologically applies Physics, Conceptual philosophy, Mathematics, and jurisprudence analysis both inductively and deductively to prove its theory. It is the first and the only Theory for Explaining the nature of Existence (being) and provides a technique to measure the amount of existence in each being. -/- Through understanding Existence, the book explains Creation, Cosmos, Consciousness, Mind, Spirit, and Soul scientifically. It is deep enough to initially encompass and then merge all modern Sciences (Physics, Philosophy, Complexity, System Theory, Information Theory, Psychology, Biology, Humanities, Economy, and Management) with Buddhism, Hinduism, Judaism, Christianity, and Islam (Theology) and makes the image of Reality clearer for readers. -/- The book proves chaos management in the depth of creation and shows how people can use the only law of creation for their own success and salvation. Therefore the book is an inspirational one too. Readers by reading the book and understanding it not only gain scientific knowledge but also find profound wisdom that heals them. They feel they are enlightened and motivated to construct their meaning of life. Readers can recognize their self/ego structure of being and enjoy the passion to improve. -/- The book tries to explain the mechanism of Thinking with respect to Symmetry and the failure of Symmetry as the foundation of Categorization, Mentalization, and Cognition. By understanding the mechanism of cognition it can study Epistemology and explain the Believing Mechanism and the nature of Beliefs as a kind of being. The theory claims no matter the beliefs originated from Science or Religion the mechanisms that govern both of them are the same. Based on the theory, “Knower or Observer”, “Known or Observed”, and “knowing or observation” are rooted in Symmetry and its failure. The tone, language, and structure of the book are unique to itself. It is not an entertainment or commercial book. The book is written for readers who plan to spend enough time to think about its content. (shrink)

Luck egalitarians think that considerations of responsibility can excuse departures from strict equality. However critics argue that allowing responsibility to play this role has objectionably harsh consequences. Luck egalitarians usually respond either by explaining why that harshness is not excessive, or by identifying allegedly legitimate exclusions from the default responsibility-tracking rule to tone down that harshness. And in response, critics respectively deny that this harshness is not excessive, or they argue that those exclusions would be ineffective or lacking in (...) justification. Rather than taking sides, after criticizing both positions I also argue that this way of carrying on the debate – i.e. as a debate about whether the harsh demands of responsibility outweigh other considerations, and about whether exclusions to responsibility-tracking would be effective and/or justified – is deeply problematic. On my account, the demands of responsibility do not – in fact, they can not – conflict with the demands of other normative considerations, because responsibility only provides a formal structure within which those other considerations determine how people may be treated, but it does not generate its own practical demands. (shrink)

The style, tone and tenor of the New Testament writers are unique and exceptional. Jesus of Nazareth, Hebraic roots, Old Testament literature, oral tradition, Hellenistic influence, Roman governance, 1st century socio-politics, and multifarious linguistic elements combined to immortalize their literary records and make them indelible in the minds of contemplative readers. This book acknowledges previous work and seeks to connect the thoughts gleaned from them to seminal ideas that have their locus in the inquiry of how language can influence (...) thought and vice-versa. The information has been sourced from the fields of religion, biblical studies, linguistics, English literature, grammar learning, geo-politics, philology, psychology, philosophy, and artificial intelligence as they have to do with thought, language, and society. The carefully quoted and paraphrased opinions of writers from the related disciplines since the fourth century BCE are presented here. However, the volume reflects the very marked influence of 20th century thinkers who have had the benefit of perusing the work of their predecessors and 21st century pioneers who have at their disposal ultra-modern technology, computing power, and easy access to a global community to which the ideas may be applied for comparative analysis. (shrink)

Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to (...) describe and name what we listen to. Author further examines Scruton's theory, his concept of metaphor and metaphorical transfer and also his account of experience of music understood as an experience of double intentionality. In conclusions, author argues that Scruton's account of music is inspirational and phenomenologically true even if -author feels - it fails to explain what is really unique in the listening experiences of music. (shrink)

Emotion detection and management have emerged as pivotal areas in humancomputer interaction, offering potential applications in healthcare, entertainment, and customer service. This study explores the use of deep learning (DL) models to enhance emotion recognition accuracy and enable effective emotion regulation mechanisms. By leveraging large datasets of facial expressions, voice tones, and physiological signals, we train deep neural networks to recognize a wide array of emotions with high precision. The proposed system integrates emotion recognition with adaptive management strategies that provide (...) personalized feedback and interventions based on detected emotional states. Our approach surpasses traditional machine learning methods, demonstrating superior performance in real-time applications. We also explore the ethical implications and challenges associated with deploying such systems, particularly regarding privacy concerns and the potential for misuse. Through extensive experiments, our model achieved an average accuracy rate of 92%, highlighting its robustness across different environments and user demographics. This research not only contributes to the growing field of affective computing but also lays the groundwork for future developments in emotionally intelligent systems. (shrink)

Background: In order to determine the pathophysiology of tinnitus and deciding on treatment, the function of peripheral hearing organs is very important. -/- Objective: To evaluate the cochlear functions in tinnitus patients with or without hearing-loss(HL). -/- Methods: Participants with tinnitus were divided into two groups; 16 participants with accompanying HL were included in the first study group (SG-I), and 15 participants without HL were included in the second group (SG-II). 21 normal-hearing subjects without tinnitus included as control group(CG). Tinnitus (...) discomfort levels was determined with Tinnitus Handicap Inventory(THI). Besides pure-tone audiometry, Otoacoustic Emissions, to evaluate cochlear functions and to decide dead regions (DR), Threshold Equalizing Noise-(TEN) was used. -/- Results: The threshold-shift was observed with TEN in subjects in SG-I and these levels were statistically different from SG-II and CG. There were both threshold-shift and DR in SG-II according to TEN. TEOAEs did not differ between SG-II and CG. The DPOAE results for SG-II showed significant decreases in emission amplitudes at 6 & 8 kHz. -/- Conclusion: While Tinnitus patients with HL can be evaluated with conventional tests, evaluating patients with normal hearing tinnitus with additional tests such as OAE and TEN allows us to get more precise results on the functions of peripheral hearing organs. (shrink)

Recent years have witnessed an increase in bear sightings in Latvia, causing a change of tone in the country’s media outlets, regarding the return of “wild” animals. The unease around bear reappearance leads me to investigate the affective side of relations with beings that show strength and resilience in more-than-human encounters in human-inhabited spaces. These relations are characterized by the contrasting human feelings of alienation vis-à-vis their environments today and a false sense of security, resulting in disbelief to encounter (...) beings capable of challenging human exceptionalism. In a broader sense, the unease connects to human self-constitution and the fragility of the self, fueled by the domination of substance ontologies. This article considers bears as beings “in exile,” as potential threats to human self-pronounced exceptionality, and thus, examples of experienced abject regarding human subjectivity. The article aims to analyze the way the constitution of human selfhood is tied to the alienation of wildlife and its genealogical and biopolitical context and to question if a reconceptualization of the human/nonhuman relations via process, instead of substance ontology, is needed. (shrink)

To study conscious experience we must, to some extent, trust introspective reports; yet introspective reports often do not merit our trust. A century ago, E.B. Titchener advocated extensive introspective training as a means of resolving this difficulty. He describes many of his training techniques in his four-volume laboratory manual of 1901- 1905. This paper explores Titchener's laboratory manual with an eye to general questions about the prospects of introspective training for contemporary consciousness studies, with a focus on the following examples: (...) introspective knowledge of the combination tones that arise when a musical interval is played; the 'flight of colours' in the afterimage of a field of bright, broad- spectrum light; and the possibility of non-obvious visual illusions. Introspective training appears to have some merit, but also to involve significant hazards. (shrink)

Emotion detection and management have emerged as pivotal areas in humancomputer interaction, offering potential applications in healthcare, entertainment, and customer service. This study explores the use of deep learning (DL) models to enhance emotion recognition accuracy and enable effective emotion regulation mechanisms. By leveraging large datasets of facial expressions, voice tones, and physiological signals, we train deep neural networks to recognize a wide array of emotions with high precision. The proposed system integrates emotion recognition with adaptive management strategies that provide (...) personalized feedback and interventions based on detected emotional states. Our approach surpasses traditional machine learning methods, demonstrating superior performance in real-time applications. (shrink)

Consider a perceptual activity such as seeing a colour, hearing a tone, tasting a flavour. How are these activities related to one’s awareness of them? I will use Brentano’s struggle with this question to guide the reader through the development of his view on consciousness. My starting point will be Brentano’s book Die Psychologie des Aristoteles (Brentano 1867), in which he developed an inner sense view of consciousness (§§1-2). Brentano’s early view is underexplored in the literature, but crucial for (...) understanding the development of his thought on the matter. In his major work Psychologie vom Empirischen Standpunkt (1874) he rejected the existence of an inner sense: the exercises of our five senses yield awareness of the world (or at least of intentional objects) as well as awareness of these perceptions. This same-level view of consciousness has been explored and developed by contemporary philosophers of mind. I will discuss the arguments that moved Brentano to change his mind, outline the view and, finally, respond to Husserl’s influential criticism of Brentano’s view (§§3-5). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize himself as a philosopher ("Je (...) suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

Vocal fry is a phonation, or voicing, in which an individual drops their voice below its natural register and consequently emits a low, growly, creaky tone of voice. Media outlets have widely acknowledged it as a generational vocal style characteristic of millennial women. Critics of vocal fry often claim that it is an exclusively female vocal pattern, and some say that the voicing is so distracting that they cannot understand what is being said under the phonation. Claiming that a (...) phonation is so distracting as to prevent uptake of the semantic content of an utterance associated with it is an extreme reaction, especially when accompanied by demands for women to change their phonation. We argue that this reaction limits women's communicative autonomy. We analyze the extreme reaction to female vocal fry, which we characterize as a non-content-based response, from the perspectives of philosophy of language, feminist epistemology, and linguistics. We argue that when fry is heard as annoying and distracting, it is because the hearer interprets the speaker as echoing an utterance from a position of authority to which she is not entitled. We show that this reaction encodes conscious or unconscious sexist attitudes toward women's voices. (shrink)

Philosophers in the field of analytic metaphysics have begun gradually to come to terms with the fact that there are entities in a range of categories not dreamt of in the set-theory and predicate-logic-based ontologies of their forefathers. Examples of such “entia minora” would include: boundaries, places, events, states holes, shadows, individual colour- and tone-instances (tropes), together with combinations of these and associated simple and complex universal species or essences, states of affairs, judgment-contents, and myriad abstract structures of the (...) sorts which are studied by the mathematical sciences. How, as hunter-gatherer ontologists, are we to bring order into this vast array? How are we to gauge the ontological merits of given candidate entities, and how are we to understand their relation to entities of more humdrum sorts? Meinong, it turns out, offers a very simple answer to all of these questions. (shrink)

Many scholars claim that Frege's theory of colouring is committed to a radical form of subjectivism or emotivism. Some other scholars claim that Frege's concept of colouring is a precursor to Grice's notion of conventional implicature. I argue that both of these claims are mistaken. Finally, I propose a taxonomy of Fregean colourings: for Frege, there are purely aesthetic colourings, communicative colourings or hints, non-communicative colourings.

The focus of this essay is on Xenophanes’ criticism of anthropomorphic representation of the gods, famously sounding like a declaration of war against a constituent part of the Greek religion, and adopting terms and a tone that are unequalled amongst “pre-Socratic” authors for their directness and explicitness. While the main features of Xenophanes’ polemic are well known thanks to some of the most studied fragments of the pre-Socratic tradition, a different line of enquiry from the usual one is attempted (...) by considering the multi-layered background of the religious beliefs revolving around the idea that the gods have human form as outlined in the tradition of epic poetry or represented in cult statues: in the light of this consideration Xenophanes’ text can take on some new characteristics. In the second part of the article, emphasis is put on the importance of the correlation Xenophanes established between the issue of the appearance of the gods and that of the certainty of knowledge, in terms that have exerted tremendous influence on later thought, most notably on Plato in the Timaeus. (shrink)

The distinctive claim of the Gestalt psychologists (of Prague, Graz, Berlin, Leipzig, and Vienna) is that we are typically aware of wholes which have “Gestalt qualities”, such as being a melody, and that these qualities could not be properties of mere sums, for example of sums of tones. A common, stronger claim is that the wholes we are aware of are themselves “Gestalten”, the parts of which are inseparable from each other and from the wholes they belong to. The Gestalt (...) psychologists took themselves to be opposing associationistic and atomistic assumptions in psychology. The notion of a Gestalt is applied primarily in their accounts of perception and to a much lesser extent in their accounts of feelings (Gefühle), aesthetic and non-aesthetic, of their objects, of our awareness of the feelings of others, of our attributions of emotions, of our grasp of value and of the relations between affective phenomena and perception. (shrink)

Ethical beliefs are not justified by familiar methods. We do not directly sense ethical properties, at least not in the straightforward way we sense colors or shapes. Nor is it plausible to think – despite a tradition claiming otherwise – that there are self-evident ethical truths that we can know in the way we know conceptual or mathematical truths. Yet, if we are justified in believing anything, we are justified in believing various ethical propositions e.g., that slavery is wrong. If (...) ethical beliefs are not justified in these familiar ways, how are they justified? -/- In her widely read, “Modern Moral Philosophy,” and in her short complimentary paper, “On Brute Facts,” G.E.M. Anscombe answers this question with a compelling and unorthodox account of justification in ethics. Because of her polemical tone and because “Modern Moral Philosophy” does so much else besides, this contribution is easy to overlook. But her account is worth taking seriously, since (a) it is an underappreciated yet plausible account that sidesteps traditional controversies, (b) it offers rich conceptual tools for interpreting and critiquing ethical theories, (c) it suggests an appealing account of the place of ethical theory in ethical knowledge and, (d) it provides useful guidance for doing applied ethics. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of (...) music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

In Confucian education philosophy, the teacher is the center of a classroom [6], which has set the tone of the teacher-centered education model in China for thousands of years.

The tradition of realist phenomenology was founded in around 1902 by a group of students in Munich interested in the newly published Logical Investigations of Edmund Husserl. Initial members of the group included Johannes Daubert, Alexander Pfänder, Adolf Reinach and Max Scheler. With Reinach’s move to Göttingen the group acquired two new prominent members – Edith Stein and Roman Ingarden. The group’s method turned on Husserl’s idea that we are in possession a priori (which is to say: non-inductive) knowledge of (...) entities (for example, colors, tones, values, shapes) of a range of different sorts. Pfänder applied this method in his descriptive psychology of willing and motivation, Reinach (anticipating the later speech act theory) to what he called ‘social acts’, Stein to the ontology of communities, and Ingarden to works of art and aesthetic phenomena. The movement latter, through Ingarden, lived on in Poland, where it influenced the young Karol Wojtyła. (shrink)

A teacher controls the release of materials in attempt to get students to appreciate the appeal of a popular yet wrongheaded argument before exposing them to its shortcomings. An instructor uses body language, tone of voice, and images in a Power-Point presentation that appeal to non-deliberative mechanisms in order to influence the students to pay more attention, maintain their focus, or to remember the content better. How do we draw the line between such innocuous educational practices and problematic manipulation, (...) such as deterring students from questioning certain views by instilling fear or shame? I help answering this question by illuminating one significant danger, which hasn’t been accurately identified in the relevant literature: the danger that manipulations in education—even when they’re non-deceptive and aim for the good of the students—will hinder the development or fulfillment of the students’ deliberative projects. (shrink)

Bioethics journals have lagged behind medical and science journals in exploring the threat of conflict of interest (COI) to the integrity of publications. Some recent discussions of COI that have occurred in the bioethics literature are reviewed. Discussions of what has been termed the ?Healy affair? unintentionally demonstrate that the direct and indirect influence of undisclosed COI may come from those who call for protection from the undue influence of industry. Paradoxically, the nature and tone of current discussions may (...) serve to dull sensitivities to what is indeed a serious set of issues facing bioethics. Some proposals are presented to address COI and other challenges to the integrity of bioethics and its journals. COI is too important a topic to be left to ideologues, and there is no substitute for readers' caution and skepticism as tools in dealing with the full range of biases that exist in published papers. (shrink)