We are immersed within an odorous sea of chemical currents that we parse into individual odors with complex structures. Odors have been posited as determined by the structural relation between the molecules that compose the chemical compounds and their interactions with the receptor site. But, naturally occurring smells are parsed from gaseous odor plumes. To give a comprehensive account of the nature of odors the chemosciences must account for these large distributed entities as well. We offer a focused review of (...) what is known about the perception of odor plumes for olfactory navigation and tracking, which we then connect to what is known about the role odorants play as properties of the plume in determining odor identity with respect to odor quality. We end by motivating our central claim that more research needs to be conducted on the role that odorants play within the odor plume in determining odor identity. (shrink)

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation (...) to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music. (shrink)

When HMS Beagle made its first landfall in January 1832, the twenty-two-year-old Charles Darwin set about taking detailed notes on geology. He was soon planning a volume on the geological structure of the places visited, and letters to his sisters confirm that he identified himself as a ‘geologist’. For a young gentleman of his class and income, this was a remarkable thing to do. Darwin's conversion to evolution by selection has been examined so intensively that it is easy to (...) forget that the most extraordinary decision he ever made was to devote his life to the study of the natural world by becoming a geologist. It is only slightly less astonishing that he should have decided to align his work with Charles Lyell's controversial programme of geological reform, which had almost no followers in England. (shrink)

The late 1960s witnessed a key conjunction between political activism and the history of science. Science, whether seen as a touchstone of rationality or of oppression, was fundamental to all sides in the era of the Vietnam War. This essay examines the historian Robert Maxwell Young's turn to Marxism and radical politics during this period, especially his widely cited account of the ‘common context’ of nineteenth-century biological and social theorizing, which demonstrated the centrality of Thomas Robert Malthus's writings on (...) population for Charles Darwin's formulation of the theory of evolution by natural selection. From Young's perspective, this history was bound up with pressing contemporary issues: ideologies of class and race in neo-Darwinian evolutionary theory, the revival of Malthusian population control, and the role of science in military conflict. The aim was to provide a basis for political action – the ‘head revolution’ that would accompany radical social change. The radical force of Young's argument was blunted in subsequent decades by disciplinary developments within history of science, including the emergence of specialist Darwin studies, a focus on practice and the changing political associations of the history of ideas. Young's engaged standpoint, however, has remained influential even as historians moved from understanding science as ideology to science as work. (shrink)

Critics of exclusionary borders might be tempted to appeal for more hospitality, but this essay argues that such an approach is misguided and develops an alternative framework called solidarity borders. The ongoing legacies of imperialism, the functioning of global capitalism, and insights from democratic theory show that we need to problematize two key presuppositions of hospitality: a clear distinction between hosts and guests, and the exclusive right of the former to impose conditions. Moreover, Jacques Derrida provides limited guidance as to (...) how to enact necessarily conditional hospitality in the most just manner. By contrast, Iris Marion Young’s social connection model highlights the shared responsibility that actors bear to reduce structural injustice. Drawing out the implications of Young’s work for migration and borders, I argue that solidarity borders would build upon, expand, and modify the existing refugee regime. (shrink)

Never translated before, 'Thoughts on Death and Immortality' was the first published work of Ludwig Feuerbach. The scandal created by portrayal of Christianity as an egoistic and inhumane religion cost the young Hegelian his job and, to some extent, his career. Joining philosophical argument to epigram, lyric, and satire, the work has three central arguments: first, a straightforward denial of the Christian belief in personal immortality; second, a plea for recognition of the inexhaustible quality of the only life we (...) have; and third, a derisive assault on the posturings and hypocrisies of the professional theologians of nineteenth-century Germany. (shrink)

In his article ‘A Nonce-word in the Iliad’ Maurice Pope argues against the usual modern interpretation of παναώριος, a Homeric παξ λεγόμενον applied by Achilles to himself at Il. 24.540, sc. ‘of all-untimely fate’, ‘doomed to die young’, and the like. The same is also the interpretation of the scholium παντελς ωρον ποθανούμενον, whilst Herodian and Eustathius, respectively with κατ πάντα ωρον and πάντ ωρον, do no more than paraphrase the force of παν- in the compound. Pope tries to (...) establish instead the suitability of the meaning ‘out of season’, i.e. in what Achilles does or fails to do in general. His case rests on the ground of what is appropriate to or required by the context, since, as he himself shows, the word in itself can, on the analogy of closely related forms, notably the adjective ωρος, bear the meaning usually attributed to it, provided the context contains sufficient indication of a reference to death. Accordingly, the validity of his argument depends on his assessment of this context. Pope recognises that throughout the last part of the Iliad, at least starting from the conversation between Achilles and his mother at 18.70ff., Achilles is fully aware of the nearness and unavoidability of his own death, and that ‘from this point on Homer exploits the atmosphere of impending doom’. But after citing several passages in which the approach of Achilles' death is mentioned, Pope continues as follows. (shrink)

In his article ‘A Nonce-word in the Iliad’ Maurice Pope argues against the usual modern interpretation of παναώριος, a Homeric παξ λεγόμενον applied by Achilles to himself at Il. 24.540, sc. ‘of all-untimely fate’, ‘doomed to die young’, and the like. The same is also the interpretation of the scholium παντελς ωρον ποθανούμενον, whilst Herodian and Eustathius, respectively with κατ πάντα ωρον and πάντ ωρον, do no more than paraphrase the force of παν- in the compound. Pope tries to (...) establish instead the suitability of the meaning ‘out of season’, i.e. in what Achilles does or fails to do in general. His case rests on the ground of what is appropriate to or required by the context, since, as he himself shows, the word in itself can, on the analogy of closely related forms, notably the adjective ωρος, bear the meaning usually attributed to it, provided the context contains sufficient indication of a reference to death. Accordingly, the validity of his argument depends on his assessment of this context. Pope recognises that throughout the last part of the Iliad, at least starting from the conversation between Achilles and his mother at 18.70ff., Achilles is fully aware of the nearness and unavoidability of his own death, and that ‘from this point on Homer exploits the atmosphere of impending doom’. But after citing several passages in which the approach of Achilles' death is mentioned, Pope continues as follows. (shrink)

This chapter contains sections titled: 1 2 3 4 5 6.

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

Peer review is a widely accepted instrument for raising the quality of science. Peer review limits the enormous unstructured influx of information and the sheer amount of dubious data, which in its absence would plunge science into chaos. In particular, peer review offers the benefit of eliminating papers that suffer from poor craftsmanship or methodological shortcomings, especially in the experimental sciences. However, we believe that peer review is not always appropriate for the evaluation of controversial hypothetical science. We argue that (...) the process of peer review can be prone to bias towards ideas that affirm the prior convictions of reviewers and against innovation and radical new ideas. Innovative hypotheses are thus highly vulnerable to being “filtered out” or made to accord with conventional wisdom by the peer review process. Consequently, having introduced peer review, the Elsevier journal Medical Hypotheses may be unable to continue its tradition as a radical journal allowing discussion of improbable or unconventional ideas. Hence we conclude by asking the publisher to consider re-introducing the system of editorial review to Medical Hypotheses. (shrink)

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of (...) aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

The ethical principle of respect for autonomy has come into its own In American medicine since World War II as equal in importance to the traditional medicomoral principles of nonmaleficence and beneficence. Respect for autonomy provides the ethical underpinning for the patient's right to exercise an informed choice – whether to consent to or to refuse recommended medical treatment. However, an informed choice demands a certain level of competence. Typical criteria for patient competence to accept or to refuse medical treatments (...) Include ability to make a choice and ability to comprehend the nature of the treatment, as well as the risks and benefits of accepting or refusing the treatment. (shrink)

In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...) this essay argues that Lopes is wrong in supposing that theories of arts were developed to deal with the ‘hard cases’ – developments such as Duchamp’s readymades and conceptual art. This is a problem since Lopes holds that the buck passing theory’s capacity to deal with the hard cases is one of its virtues. Second, this essay argues that the buck passing theory has no account of which activities are arts and no account of what makes some activity an art. (shrink)

One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...) its past. Alfred Hrdlicka began a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup . For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 : 30. James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America , from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York. (shrink)

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

All forms of beauty create appeal or enticement with moral significance. Sublime beauty draws one into a deep relationship that properly promotes the good and true. Parents tend to experience such beauty in their children, as eloquently described in works such as the 14th-century poem ‘The Pearl’, and they see this even when their children are desperately ill or dying. The experience of beauty in one’s child creates or reinforces the morality of caring. Unfortunately, at the end of modernity, the (...) framing of beauty as only instrumental and subjective generally works against any recognition of dignity or respect for the very small pediatric patient. Practitioners who believe in the intrinsic value and dignity of persons as general concepts should recognize parental drawing toward their children as a particularization of a transcendental value. (shrink)

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.

abstract In a number of contexts one comes across the suggestion that cultures are collective owners of cultural property, such as particularly significant works of art. Indigenous peoples are often held to be collective owners of cultural property, but they are not the only ones. Icelandic culture is said to have a claim on the Flatejarbók and Greek culture is held to own the Parthenon Marbles. In this paper I investigate the conditions under which a culture is the rightful owner (...) of cultural property. I argue against the claims that cultures inherit cultural property. I also argue that a culture's claim to own cultural property is seldom, if ever, founded on either practices employed in the culture or collective production of cultural property. I maintain, however, that the very value of cultural property for some culture can, in some instances, provide the basis for the culture's claim on the property. (shrink)

Some writers have objected to cultural appropriation in the arts on the grounds that it violates cultures’ property rights. Recently a paper by Erich Matthes and another by C. Thi Nguyen and Matthew Strohl have argued that cultural appropriation does not violate property rights but that it is nevertheless often objectionable. Matthes argues that cultural appropriation contributes to the oppression of disadvantaged cultures. Nguyen and Strohl argue that it violated the intimacy of cultures. This paper argues that neither Matthes nor (...) Nguyen and Strohl succeed in showing that cultural appropriation is often objectionable. (shrink)

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.

This chapter contains section titled: Art, Culture, and Appropriation Types of Cultural Appropriation What is a Culture? Objections to Cultural Appropriation In Praise of Cultural Appropriation.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

This chapter contains sections titled: Introduction Is ‘subject appropriation’ a misnomer? Subject appropriation and misrepresentation Cultural Appropriation and Assimilation Harm and Accurate Representation Privacy Authenticity and Subject Appropriation Envoy Conclusion References.

I thank Tiago Sousa for his thoughtful comments on Young (2020, 2021). I am grateful for the opportunity to revisit Kant’s thoughts on music, which I think I un.

Blackwell Companions to Philosophy This outstanding student reference series offers a comprehensive and authoritative survey of philosophy as a whole. Written by todays leading philosophers, each volume provides lucid and.

Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional (...) characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...) reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

This volume is based upon the sixth series of lectures delivered at Yale University on the Foundation established by the late Dwight H. Terry of Plymouth, Connecticut, through his gift of an endowment fund for the delivery and subsequent publication of "Lectures on Religion in the Light of Science and Philosophy." The deed of gift declares that "the object of this Foundation is not the promotion of scientific investigation and discovery, but rather the assimilation and interpretation of that which has (...) been or shall be hereafter discovered, and its application to human welfare, especially by the building of the truths of science and philosophy into the structure of a broadened and purified religion. (shrink)

A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.

In this article, I examine both the problem of so-called postmodern history as it relates to the Holocaust and suggest the ways that Saul Friedlander's recent work successfully mediates between the somewhat overly polemicized positions of "relativist" and "positivist" history. In this context, I find that in his search for an adequately self-reflexive historical narrative for the Holocaust, Hayden White's proposed notion of "middle-voicedness" may recommend itself more as a process for eyewitness writers than as a style for historians after (...) the fact. From here, I look at the ways Saul Friedlander's reflections on the historian's voice not only mediate between White's notions of the ironic mode and middle-voicedness, but also suggest the basis for an uncanny history in its own right: an anti-redemptory narrative that works through, yet never actually bridges, the gap between a survivor's "deep memory" and historical narrative.For finally, it may be the very idea of "deep memory" and its incompatibility to narrative that constitutes one of the central challenges to Holocaust historiography. What can be done with what Friedlander has termed "deep memory" of the survivor, that which remains essentially unrepresentable? Is it possible to write a history that includes some oblique reference to such deep memory, but which leaves it essentially intact, untouched and thereby deep? In this section, I suggest, after Patrick Hutton, that "What is at issue here is not how history can recover memory, but, rather, what memory will bequeath to history." That is, what shall we do with the living memory of survivors? How will it enter the historical record? Or to paraphrase Hutton again, "How will the past be remembered as it passes from living memory to history?" Will it always be regarded as so overly laden with pathos as to make it unreliable as documentary evidence? Or is there a place for the understanding of the witness, as subjective and skewed as it may be, for our larger historical understanding of events?In partial answer to these questions, I attempt to extend Friedlander's insights toward a narrow kind of history-telling I call "received history"-a double-stranded narrative that tells a survivor-historian's story and my own relationship to it. Such a narrative would chart not just the life of the survivor-historian itself but also the measurable effect of the tellings-both his telling and mine-on my own life's story. Together, they would compose a received history of the Holocaust and its afterlife in the author's mind-my "vicarious past.". (shrink)

The correspondence theory of truth holds that each true sentence corresponds to a discrete fact. Donald Davidson and others have argued (using an argument that has come to be known as the slingshot) that this theory is mistaken, since all true sentences correspond to the same “Great Fact.” The argument is designed to show that by substituting logically equivalent sentences and coreferring terms for each other in the context of sentences of the form ‘P corresponds to the fact that P’ (...) every true sentence can be shown to correspond to the same facts as every other true sentence. The claim is that all substitution of logically equivalent sentences and coreferring terms takes place salva veritate. I argue that the substitution of coreferring terms in this context need not preserve truth. The slingshot fails to refute the correspondence theory. (shrink)

Some members of the Vienna Circle argued for a coherence theory of truth. Their coherentism is immune to standard objections. Most versions of coherentism are unable to show why a sentence cannot be true even though it fails to cohere with a system of beliefs. That is, it seems that truth may transcend what we can be warranted in believing. If so, truth cannot consist in coherence with a system of beliefs. The Vienna Circle's coherentists held, first, that sentences are (...) warranted by coherence with a system of beliefs. Next they drew upon their verification theory of meaning, a consequence of which is that truth cannot transcend what can be warranted. The coherence theory of knowledge and verificationism together entail that truth cannot transcend what can be warranted by coherence with a system of beliefs. The Vienna Circle's argument for coherentism is strong and anticipates contemporary anti-realism. (shrink)

The current debate between realists and anti-realists has brought to the fore some ancient questions about the coherence of relativism. Realism is the doctrine according to which the truth of sentences is determined by the way things really are. Truth is thus the result of a relation between sentences and reality. One species of anti-realism holds, on the contrary, the truth results from a relation between sentences within a theory: a sentence is true if warranted by a correct theory.

Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...) a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)

"In this revisionist study, Young denies that Adams was a reactionary critic of democracy and instead contends that he was an idealistic, though often disappointed, advocate of representative government. Young focuses on Adams's belief that capitalist industrial development during the Gilded Age had debased American ideals and then turns to a careful study of Adams's famous contrast of the unity of medieval society with the fragmentation of modern technological society."--BOOK JACKET.

The view that music can have a positive or negative effect on a person’s character has been defended throughout the history of philosophy. This paper traces some of the history of the ethos theory and identifies a version of the theory that could be true. This version of the theory can be traced to Plato and Aristotle and was given a clear statement by Herbert Spencer in the nineteenth century. The paper then examines some of the empirical literature on how (...) music can affect dispositions to behave and moral judgement. None of this evidence provides much support for the ethos theory. The paper then proposes a programme of research that has the potential to confirm the ethos theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and the Educated AudienceJames O. Young (bio)1. IntroductionWhen writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy (...) art world. My goal in this essay is to do something to end the neglect of the audience. I will focus on the role of the informed or, as I will call it, educated audience. I begin by subjecting the concept of an audience to some old-fashioned conceptual analysis. Once we are clearer about what an audience is and, in particular, what an educated audience is, we can begin to determine what it can do. In my view, an educated audience can play an important role in encouraging the production of artworks with high aesthetic value. Indeed, highly valuable artworks are unlikely to be produced without a broad educated audience to whom artists are responsive. Consequently, the aesthetic education of audiences is crucial to the health of an art world.2. What Is an Audience?In its original sense, the noun "audience" refers to the people within earshot of some speaker: one held forth to an audience. In connection with the arts, "audience" was first used in something very like this original sense. It referred to those who heard actors perform plays or those who heard the recitation of poetry. Soon the concept of an audience also applied to those who heard the performance of musical works. By the mid-nineteenth century, the concept of an audience had been broadened. It came to apply to the readers of a novel or other works of literature. More recently, the concept of an audience has been applied to those who view paintings, sculptures, and films. [End Page 29] Now an audience consists of people who experience artworks of any sort. Having an experience of an artwork is a necessary condition of being part of an audience. This condition is, however, far from being sufficient.Some people experience works of art but are not part of an audience. Consider, for example, ushers in a concert hall or theater and guards in art museums. An usher hears the play or the concerto but may not regard it as an aesthetic object. Similarly, a guard sees the paintings (and so in this sense experiences them) but does not, perhaps, attend to them as aesthetic objects. Or consider a person who arranges to meet a friend in a gallery. He almost certainly sees the paintings, but he will not count as part of an audience if he is completely intent on looking for his friend. It seems, then, that members of an audience do not simply experience artworks. They must experience artworks in a certain way.Audience members experience an artwork in such a way that they are able to benefit from its aesthetic value. When I speak of "aesthetic value," I mean the value an artwork possesses in virtue of its sensuous properties. I will not here take a stand on the nature of experience of aesthetic value. Some writers have suggested that the contemplation of art involves a distinctive sort of experience. Perhaps it does. (It has been suggested, for example, that audience members must have a measure of "psychical distance" from some object if they are to have an aesthetic experience of it.) I simply hold that audience members experience an artwork in whatever way makes it possible for them to benefit from its aesthetic value. If aesthetic value causes pleasure (or "aesthetic emotion," understanding, or anything else) then audience members can have pleasure caused in them by an artwork's aesthetic value. The capacity to benefit from the aesthetic value of an artwork is a necessary condition of being part of the work's audience.Notice that not just anyone can be part of the audience for a given work of art. Audience members must possess certain capacities. In the most basic sense of the word, an audience is composed... (shrink)

Peter Kivy and Stephen Davies developed an influential and convincing account of what features of music cause listeners to hear it as expressive of emotion. Their view (the resemblance theory) holds that music is expressive of some emotion when it resembles human expressive behaviour. Some features of music, they believe, are expressive of emotion because of conventional associations. In recent years, Kivy has rejected the resemblance theory without adopting an alternative. This essay argues that Kivy has been unwise to abandon (...) the resemblance theory. New and compelling psychological evidence supports the theory. The essay also argues that new psychological evidence indicates that convention makes a smaller contribution to musical expressiveness than Kivy and Davies believe. (shrink)