Objective and epistemic gradability: Is the new angle on the Knobe effect empirically grounded?

According to the New Angle, any explanation of the Knobe effect must be gradable and asymmetric. It has been argued that only Hindriks’ approach meets both criteria. First, we argue that Holton’s hypothesis also meets the criteria. Second, we show that the authors are not justified in taking the criteria to be empirically justified. We have failed to replicate the asymmetry result in two experiments. Moreover, gradability can be objective or epistemic. We show that the New Angle presupposes objective gradability. In our experiments, the patterns of responses to questions about epistemic and objective gradability are the same, irrespective of whether the feature is objectively gradable (e.g., blameworthiness) or not (e.g., intentionality). Our results thus question the extent to which the New Angle is empirically grounded. Moreover, they raise doubt whether the answers to questions about epistemic and objective gradability can be taken at face value at all.

Abbreviations: NRH - normative reasons hypothesis; NVH - norm violation hypothesis; DQ - degree question; DAQ - degree of agreement question     

Dionysian Spirit as “The Social Self”: Alfred Schutz’s Insightful (Mis)use of Nietzsche

ABSTRACT

Recent publications on Alfred Schutz suggest the importance of his musical thought for understanding his general viewpoint on intersubjectivity. Developing this proposition further, my article focuses on one aspect of Schutz’s writings on music: his attempts to amalgamate the aesthetic oppositions of the Dionysian/Apollonian by Friedrich Nietzsche and inner duration/spatialized time by Henri Bergson. Despite the seeming distortion of the initial meaning of the Dionysian impulse, I suggest that Schutz’s employment remains faithful to the aesthetic and cognitive theory of early Nietzsche. To substantiate this, I draw a link between Nietzsche’s early theory of aesthetic cognition and the neurophysiology of the mid-nineteenth century. Furthermore, the way Schutz applied the Dionysian/Apollonian opposition to the problem of musical communication made his musical thought prefigure some neuro-scientifically inspired discussions of the present-day, like the one on joint attention. Schutz tackled the key paradox: why the experience of music can be shared but not directly communicated.     

‘MusiMath’ and ‘Academic Music’ – Two music‐based intervention programs for fractions learning in fourth grade students

Music and mathematics require abstract thinking and using symbolic notations. Controversy exists regarding transfer from musical training to math achievements. The current study examined the effect of two integrated intervention programs representing holistic versus acoustic approaches, on fraction knowledge. Three classes of fourth graders attended 12 lessons on fractions: One class attended the ‘MusiMath’ holistic program (n = 30) focusing on rhythm within the melody. Another class attended the ‘Academic Music’ acoustic program (Courey et al., Educ Stud Math 81:251, 2012) (n = 25) which uses rhythm only. The third class received regular fraction lessons (comparison group, n = 22). Students in both music programs learned to write musical notes and perform rhythmic patterns through clapping and drumming as part of their fraction lessons. They worked toward adding musical notes to produce a number (fraction), and created addition/subtraction problems with musical notes. The music programs used a 4/4 time signature with whole, half, quarter and eighth notes. In the math lessons, the students learned the analogy between musical durations and fractions, but also practiced fractions other than . Music and math were assessed before, immediately following, and 3‐ and 6‐months post‐intervention. Pre‐ to post‐intervention analyses indicated that only the ‘MusiMath’ group showed greater transfer to intervention‐trained and untrained fractions than the comparison group. The ‘Academic Music’ group showed a trend on trained fractions. Although both music groups outperformed the comparison group 3‐ and 6‐months post‐intervention on trained fractions, only the ‘MusiMath’ group demonstrated greater gains in untrained fractions. Gains were more evident in trained than in untrained fractions. A video abstract of this article can be viewed at https://youtu.be/uJ_KWWDO624     

Children's associations between space and pitch are differentially shaped by language

Musical properties, such as auditory pitch, are not expressed in the same way across cultures. In some languages, pitch is expressed in terms of spatial height (high vs. low), whereas others rely on thickness vocabulary (thick = low frequency vs. thin = high frequency). We investigated how children represent pitch in the face of this variable linguistic input by examining the developmental trajectory of linguistic and non-linguistic space-pitch associations in children who acquire Dutch (a height-pitch language) or Turkish (a thickness-pitch language). Five-year-olds, 7-year-olds, 9-year-olds, and 11-year-olds were tested for their understanding of pitch terminology and their associations of spatial dimensions with auditory pitch when no language was used. Across tasks, thickness-pitch associations were more robust than height-pitch associations. This was true for Turkish children, and also Dutch children not exposed to thickness-pitch vocabulary. Height-pitch associations, on the other hand, were not reliable—not even in Dutch-speaking children until age 11—the age when they demonstrated full comprehension of height-pitch terminology. Moreover, Turkish-speaking children reversed height-pitch associations. Taken together, these findings suggest thickness-pitch associations are acquired in similar ways by children from different cultures, but the acquisition of height-pitch associations is more susceptible to linguistic input. Overall, then, despite cross-cultural stability in some components, there is variation in how children come to represent musical pitch, one of the building blocks of music.

Research Highlights

• Children from diverse cultures differ in their understanding of music vocabulary and in their nonlinguistic associations between spatial dimensions and auditory pitch.
• Height-pitch mappings are acquired late and require additional scaffolding from language, whereas thickness-pitch mappings are acquired early and are less susceptible to language input.
• Space-pitch mappings are not static from birth to adulthood, but change over development, suggesting music cognition is shaped by cross-cultural experience.

     

What is being revealed in 2020?

The Covid-19 pandemic is exposing how humans have long related to nature, and revealing aspects of classism and racism that have long been ignored. Drawing on spiritual resources, such as Luther, might the polarizing, self versus other tendencies be overcome and the long pandemic rooted in economic class and racism more effectively addressed today? Can this result in a “new normal”?     

Energy and spirit: Extraction,thermodynamics, and change

This article suggests new ways to think about energy and thermodynamics beyond an extractive, fossil-fuel model. The predominant economic model of the modern world has been driven by the extraction and exploitation of fossil fuels—first coal and then oil. These are powerful forces, although their development is more complicated than we might suspect. At the same time, they influence the new science of thermodynamics, which is tied to heat and heat engines that are fueled by carbon-based inputs extracted from the earth. By attending to the work of Nicolas Georgescu-Roegen, however, we can see how energy and thermodynamics can be linked to a different economic model that is not primarily extractive. And this opens up to new perspectives on energy and change, including one that views energy more explicitly in terms of spirit. We can think about energy as something that avoids the dichotomy of matter and spirit in a way such that it participates in both.     

Altars for the Morrigan: the legitimizing agency of a goddess in the networked flow of authority of a YouTube sub-culture

ABSTRACT

The Pagan YouTube e-community is an informal, amorphous collectivity within which small sub-cultures evolve around more specific common practices, such as worship of a deity. One such sub-culture is that of altar-creation for the Irish goddess the Morrigan and the mediation of these altars through the recording and uploading of videos on YouTube. A clear culture and consistent aesthetic can be observed in the analysis of the altars mediated in this sub-culture. This article examines the operating authorities that can be traced across its development. Evidence for the networked nature of the group’s social formation—along with the aesthetically conservative nature of the culture evident therein—suggests that the authority structure of the e-community is networked and thus ‘horizontal’: a co-creation of the individuals within the collective. However, the formative influence of a prominent individual demonstrates a ‘vertical’ influence. This article thus argues that an axial horizontal–vertical theoretical model of authority most accurately describes the dynamics of this e-community. Ultimately, it is the implied authority of the Morrigan herself that mediates the flows of authority. It is due to the devotees’ understanding of the Morrigan as the legitimating force that the vertical influences are denied or deflected through a discourse of individualism.     

Learning to pause: Fidelity of and biases in the developmental acquisition of gaps in the communicative signals of a songbird

The temporal organization of sounds used in social contexts can provide information about signal function and evoke varying responses in listeners (receivers). For example, music is a universal and learned human behavior that is characterized by different rhythms and tempos that can evoke disparate responses in listeners. Similarly, birdsong is a social behavior in songbirds that is learned during critical periods in development and used to evoke physiological and behavioral responses in receivers. Recent investigations have begun to reveal the breadth of universal patterns in birdsong and their similarities to common patterns in speech and music, but relatively little is known about the degree to which biological predispositions and developmental experiences interact to shape the temporal patterning of birdsong. Here, we investigated how biological predispositions modulate the acquisition and production of an important temporal feature of birdsong, namely the duration of silent pauses (“gaps”) between vocal elements (“syllables”). Through analyses of semi-naturally raised and experimentally tutored zebra finches, we observed that juvenile zebra finches imitate the durations of the silent gaps in their tutor's song. Further, when juveniles were experimentally tutored with stimuli containing a wide range of gap durations, we observed biases in the prevalence and stereotypy of gap durations. Together, these studies demonstrate how biological predispositions and developmental experiences differently affect distinct temporal features of birdsong and highlight similarities in developmental plasticity across birdsong, speech, and music.

Research Highlights

• The temporal organization of learned acoustic patterns can be similar across human cultures and across species, suggesting biological predispositions in acquisition.
• We studied how biological predispositions and developmental experiences affect an important temporal feature of birdsong, namely the duration of silent intervals between vocal elements (“gaps”).
• Semi-naturally and experimentally tutored zebra finches imitated the durations of gaps in their tutor's song and displayed some biases in the learning and production of gap durations and in gap variability.
• These findings in the zebra finch provide parallels with the acquisition of temporal features of speech and music in humans.