Jazz and Musical Works: Hypnotized by the Wrong Model

It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Andrew Kania) and those who affirm that there are such (Julian Dodd and others), and I distinguish between claiming that there are no musical works in the jazz tradition and the more provocative claim that they are not performed in jazz performances. I argue that each side of this debate is partially right and that the first step toward resolving the puzzle is to reject inappropriate concepts of a musical work. In particular, Kania's and Lydia Goehr's accounts, derived from classical music practice, are rejected as general accounts of musical works. I then contrast the norms governing work performance in classical music (the werktreue ideal) with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that fundamentally differs from the way that classical musical performances are appreciated.     

When Is Honesty the Best Policy? The Effect of Stated Company Intent on Consumer Skepticism

Prior research suggests that consumers evaluate firms more negatively if they attribute the firm's business practices to firm‐serving motivations rather than to motivations that serve the public good. We propose an alternative hypothesis: Firm‐serving attributions lower evaluation of the firm only when they are inconsistent with the firm's expressed motive. As such, the negative effect of consumer skepticism regarding a firm's motives can be inhibited by public acknowledgment of the strategic benefits to the firm. The power of this inhibition procedure was demonstrated in an experiment in which we manipulated the salience of firm‐serving benefits and the firm's publicly stated motive. Consumer evaluation of the sponsoring firm was lowest in conditions when firm‐serving benefits were salient and the firm outwardly stated purely public‐serving motives. This experiment also revealed that the potential negative effects of skepticism were the most pronounced when individuals engaged in causal attribution prior to company evaluation. Finally, in this study we measured the different effects on attribution and evaluation of 2 distinct forms of skepticism: situational skepticism, which is a momentary state of distrust of an actor's motivations, and dispositional skepticism, which is an individual's ongoing tendency to be suspicious of other people's motives.     

Getting the Story Straight: Kierkegaard,MacIntyre and Some Problems with Narrative

As part of the widespread turn to narrative in contemporary philosophy, several commentators have recently attempted to sign Kierkegaard up for the narrative cause, most notably in John Davenport and Anthony Rudd's recent collection Kierkegaard After MacIntyre: Essays on Freedom, Narrative and Virtue. I argue that the aesthetic and ethical existence‐spheres in Either/Or cannot adequately be distinguished in terms of the MacIntyre‐inspired notion of ‘narrative unity’. Judge William's argument for the ethical life contains far more in the way of substantive normative content than can be encapsulated by the idea of ‘narrative unity’, and the related idea that narratives confer intelligibility will not enable us to distinguish Kierkegaardian aesthetes from Kierkegaardian ethicists. ‘MacIntyrean Kierkegaardians’ also take insufficient notice of further problems with MacIntyre's talk of ‘narrative unity’, such as his failure to distinguish between literary narratives and the ‘enacted dramatic narratives’ of which he claims our lives consist; the lack of clarity in the idea of a ‘whole life’; and the threat of self‐deception. Finally, against the connections that have been drawn between Kierkegaardian choice and Harry Frankfurt's work on volitional identification, I show something of the dangers involved in putting too much stress on unity and wholeheartedness.     

Aesthetic freedom and democratic ethical life: A Hegelian account of the relationship between aesthetics and democratic politics

This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches, such as Rancière's, that reconceive all of the political in aesthetic terms or, like Rockhill's, reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct recognition relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth's account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth's account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth's account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life.     

MICHAEL POLANYI ON ART AND RELIGION: SOME CRITICAL REFLECTIONS ON MEANING

This paper is a critique of the theory of meaning in art and religion that Michael Polanyi developed in his last work entitled Meaning. After giving a brief summary of Polanyi's theory of art, I raise two serious difficulties, not with the theory itself, but with the claims Polanyi makes about the relation of meaning in art to science and religion. Regarding the first difficulty, I argue that Polanyi betrays an earlier insight when in Meaning he attempts to dissociate meaning in art from meaning in science; instead I argue that both science and art are aesthetic enterprises. Regarding the second, I argue that Polanyi's account of religion is an aesthetic reduction, that meaning in religion, at least in the Western tradition, is not so much an aesthetic as it is an existential matter.     

Is Understanding Epistemic in Nature?

Is understanding epistemic in nature? Does a correct account of what constitutes understanding of a concept mention epistemological notions such as knowledge, justification or epistemic rationality? We defend the view that understanding is epistemic in nature – we defend epistemological conceptions of understanding. We focus our discussion with a critical evaluation of Tim Williamson's challenges to epistemological conceptions of understanding in The Philosophy of Philosophy. Against Williamson, we distinguish three kinds of epistemological conceptions and argue that Williamson's arguments succeed against only the most heavily committed kind, and leave the less heavily committed kinds untouched. Further, we argue that Williamson's elaboration of lessons from his arguments point in a direction opposite of his own conclusions and give vivid articulation and support to epistemological conceptions. We suggest also that skepticism about Williamson's larger metaphilosophical conclusions – according to which understanding plays no special role in the epistemology of philosophy – may be in order.     

Aesthetic Concepts,Perceptual Learning,and Linguistic Enculturation: Considerations from Wittgenstein,Language, and Music

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

The Free Harmony of the Faculties and the Primacy of Imagination in Kant's Aesthetic Judgment

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’ (Dichtungsvermögen), entirely independent of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance.     

Relational Knowing and Epistemic Injustice: Toward a Theory of Willful Hermeneutical Ignorance

I distinguish between two senses in which feminists have argued that the knower is social: 1. situated or socially positioned and 2. interdependent. I argue that these two aspects of the knower work in cooperation with each other in a way that can produce willful hermeneutical ignorance, a type of epistemic injustice absent from Miranda Fricker's Epistemic Injustice. Analyzing the limitations of Fricker's analysis of the trial of Tom Robinson in Harper Lee's To Kill a Mockingbird with attention to the way in which situatedness and interdependence work in tandem, I develop an understanding of willful hermeneutical ignorance, which occurs when dominantly situated knowers refuse to acknowledge epistemic tools developed from the experienced world of those situated marginally. Such refusals allow dominantly situated knowers to misunderstand, misinterpret, and/or ignore whole parts of the world.     

Care Ethics and Confucianism: Caring through Li

The role of li, or ritual, in Confucianism is a perceived impediment to interpreting Confucianism to share a similar ethical framework with care ethics because care ethics is a form of moral particularism. I argue that this perception is false. The form of moral particularism promoted by care ethicists does not entail the abandonment of social conventions such as li. On the contrary, providing good care often requires employing systems of readily recognizable norms in order to ensure that care is successfully communicated and completed through one's care‐giving practices. I argue that li performs this communicative function well and that the early Confucians recommend breaching li precisely when its efficacy in performing this function is compromised.     

The illusion of courage in self‐predictions: Mispredicting one's own behavior in embarrassing situations

People exhibit an “illusion of courage” when predicting their own behavior in embarrassing situations. In three experiments, participants overestimated their own willingness to engage in embarrassing public performances in exchange for money when those performances were psychologically distant: Hypothetical or in the relatively distant future. This illusion of courage occurs partly because of cold/hot empathy gaps. That is, people in a relatively “cold” unemotional state underestimate the influence on their own preferences and behaviors of being in a relative “hot” emotional state such as social anxiety evoked by an embarrassing situation. Consistent with this cold/hot empathy gap explanation, putting people “in touch” with negative emotional states by arousing fear (Experiments 1 and 2) and anger (Experiment 2) decreased people's willingness to engage in psychologically distant embarrassing public performances. Conversely, putting people “out of touch” with social anxiety through aerobic exercise, which reduces state anxiety and increases confidence, increased people's willingness to engage in psychologically distance embarrassing public performances (Experiment 3). Implications for self‐predictions, self‐evaluation, and affective forecasting are discussed. Copyright © 2010 John Wiley & Sons, Ltd.     

Aesthetic consciousness of site-specific art

The aim of this article is to examine Edmund Husserl's theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic unity of the aesthetic object is limited. Moreover, following Husserl's theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limited- ness of the synthetic unity of the aesthetic object.     

The song,not the singer: Infants prefer to listen to familiar songs,regardless of singer identity

Parent's infant-directed vocalizations are highly dynamic and emotive compared to their adult-directed counterparts, and correspondingly, more effectively capture infants’ attention. Infant-directed singing is a specific type of vocalization that is common throughout the world. Parents tend to sing a small handful of songs in a stereotyped way, and a number of recent studies have highlighted the significance of familiar songs in young children's social behaviors and evaluations. To date, no studies have examined whether infants’ responses to familiar versus unfamiliar songs are modulated by singer identity (i.e., whether the singer is their own parent). In the present study, we investigated 9- to 12-month-old infants’ (N = 29) behavioral and electrodermal responses to relatively familiar and unfamiliar songs sung by either their own mother or another infant's mother. Familiar songs recruited more attention and rhythmic movement, and lower electrodermal levels relative to unfamiliar songs. Moreover, these responses were robust regardless of whether the singer was their mother or a stranger, even when the stranger's rendition differed greatly from their mothers’ in mean fundamental frequency and tempo. Results indicate that infants’ interest in familiar songs is not limited to idiosyncratic characteristics of their parents’ song renditions, and points to the potential for song as an effective early signifier of group membership.     

Meta‐Ethical Realism with Good of a Kind

There is a difference between an object's being good simpliciter and an object's being good of its kind, and the vast majority of philosophers have supposed that it is the former variety of goodness that is relevant to ethics. I argue that one may be a meta‐ethical realist while employing the notion of good of a kind to the exclusion of good simpliciter; I call such a view kindism. I distinguish between two varieties of kindism, explicate the details of one of those varieties, and defend (that variety of) kindism against possible objections.     

Mozart Among the Theologians

The essay compares and contrasts the philosophical, theological, and aesthetic approaches to Mozart in the writings of Søren Kierkegaard's aesthete A (Either/Or, I), Karl Barth (primarily Wolfgang Amadeus Mozart), and Hans Küng (Mozart: Traces of Transcendence). Whereas Kierkegaard's A outlines a non‐religious ‘daemonic Mozart’, Barth and Küng depict two contrasting theological understandings of Mozart's music. Barth's Mozart reflects a Reformed aesthetic, with Mozart as a ‘parable’ of gospel, whereas Küng's Mozart reflects a Roman Catholic ‘sacramental’ vision of music and religious faith. The essay explores how these different visions of Mozart are shaped by both their theological and aesthetic commitments.     

Looking Philosophical: Stuff,Stereotypes, and Self‐Presentation

Self‐presentation is a complex phenomenon through which individuals present themselves in performance of social roles. The success of such performances rests not just on how well a performer fulfills expectations regarding the role she would play, but on whether observers find her convincing. I focus on how self‐presentation entails making use of material environment and objects: One may “dress for the part” and employ props that suit a desired role. However, regardless of dress or props, one can nonetheless fail to “look the part” owing to expectations informed by biases patterned along commonplace social stereotypes. Using the social role of philosopher as my example, I analyze how the stereotype attached to this role carries implications for how demographically under‐represented philosophers may self‐present, specifically with regard to dress and decoration. I look, in particular, to the alienation from one's material environment that may follow on the frustration of self‐presentation through bias. One pernicious effect of bias, I argue, is the power it has to deform and distort its target's relation to her physical setting and objects. Where comfort and ease in one's material environment can be a significant ethico‐aesthetic good, bias can inhibit access to, and enjoyment of, this good.