C. Brown

How do reasons combine? How is it that several reasons taken together can have a combined weight which exceeds the weight of any one alone? I propose an answer in mereological terms: reasons combine by composing a further, complex reason of which they are parts. Their combined weight is the weight of their combination. I develop a mereological framework, and use this to investigate some structural views about reasons, the main two being "Atomism" and "Holism". Atomism is the view that atomic reasons are fundamental: all reasons reduce to atomic reasons. Holism is the view that whole reasons are fundamental. I argue for Holism, and against Atomism. I also consider whether reasons might be "context-sensitive".

Prioritarianism is the view that we ought to give priority to benefiting those who are worse off. Sufficientism, on the other hand, is the view that we ought to give priority to benefiting those who are not sufficiently well off. This paper concerns the relative merits of these two views; in particular, it examines an argument advanced by Roger Crisp to the effect that sufficientism is the superior of the two. My aim is to show that Crisp's argument is unsound. While I concede his objections against the particular prioritarian views that he considers, I propose a different version of prioritarianism that is invulnerable to those objections.

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for...

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for...

Article retraction in research is rising, yet retracted articles continue to be cited at a disturbing rate. This paper presents an analysis of recent retraction patterns, with a unique emphasis on the role author self-cites play, to assist the scientific community in creating counter-strategies. This was accomplished by examining the following: A categorization of retracted articles more complete than previously published work. The relationship between citation counts and after-retraction self-cites from the authors of the work, and the distribution of self-cites across our retraction categories. The distribution of retractions written by both the author and the editor across our retraction categories. The trends for seven of our nine defined retraction categories over a 6-year period. The average journal impact factor by category, and the relationship between impact factor, author self-cites, and overall citations. Our findings indicate new reasons for retractions have emerged in recent years, and more editors are penning retractions. The rates of increase for retraction varies by category, and there is statistically significant difference of average impact factor between many categories. 18 % of authors self-cite retracted work post retraction with only 10 % of those authors also citing the retraction notice. Further, there is a positive correlation between self-cites and after retraction citations

Lung cancer is the leading cause of cancer death in women, accompanied by greater psychological distress than other cancers. There is minimal but increasing awareness of the impact of lung cancer stigma (LCS) on patient outcomes. LCS is associated with increased symptom burden and decreased quality of life. The purpose of this study was to explore the experience of female long‐term lung cancer survivors in the context of LCS and examine how participants discursively adhere to or reject stigmatizing beliefs. Findings situated within Cataldo and colleagues' theoretical model include: (1) addiction and tobacco marketing as possible precursors for LCS, (2) the possible role of expert providers as LCS enhancers, (3) response of overlapping complicated identity shifts, (4) simultaneous rejection and assumption of LCS, and (5) information control via advocacy activities as a LCS mitigation response. These findings expand the current understanding of LCS, and call for future conceptual exploration and theoretical revision, particularly with respect to the possibility of interaction between relevant/related stigma(s) and LCS. As the number of women living with lung cancer increases, with longer survival times, the effect of LCS and other experiences of discrimination on patient outcomes could be substantial.

The own-age bias (OAB) refers to recognition memory being more accurate for people of our own-age than other-age groups (e.g., Wright and Stroud, 2002). This paper investigated whether the OAB effect is present during construction of human faces (also known as facial composites, often for forensic/police use). In doing so, it adds to our understanding of factors influencing both facial memory across the life span as well as performance of facial composites. Participant-witnesses were grouped into younger(19-35) and older(51-80) adults, and each constructed a single composite from memory of an own- or cross-age target face using the feature-based composite system PRO-fit. They also completed the 40-item Glasgow Face Matching Test (GFMT; Burton, White and McNeill, 2010). A separate group of participants who were familiar with the relevant identities attempted to name the resulting composites. Correct naming of the composites revealed the presence of an OAB for older adults, who constructed more-identifiable composites of own-age than cross-age faces. For younger adults, age of target face did not influence correct naming and their composites we named at the same level as those constructed by older adults for younger targets. Also, there was no reliable correlation between face perception ability and composite construction.

Using various meanings of ?visit? and ?friend? this essay freely explores connections between Milton's cultivation of fame in Europe, leading to reports in the early lives of visits of scholarly foreigners to his door, and the extraordinary concentration on scenarios of human and divine visitation in the late poems. Social, political and religious strands are followed, from humanist self-presentation in the sonnets through to prophetic isolation in the late poems. Codes of friendship are rehearsed concerning confidentiality and betrayal, and attention is paid to the effect of blindness on the activities of the humanist writer, the need for supporting visits, and an increasing interiority and preoccupation with the responsibilities of those engaged with God's special causes. The proto-humanist visit of Raphael to Adam in Paradise Lost and the many guiding visitations in that poem are contrasted with the situation in Samson Agonistes, where divine guidance is presented as clearer in the past than the present, and the reader is invited to share difficulties of discernment in the Restoration world, prefigured in Judges. The essay ends with the simultaneous publication of Milton's humanist legacy and sale of many of his foreign-language books

This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind. In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions. But the question of how museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date. This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings. It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference. By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice.

This article gives new information on the so-called Letter-book of John, Viscount Mordaunt beyond that in RHS Camden Series LXIX, identifies the likely scribe, and dates the transcription to late 1660. It shows how the large format book was created to record the heroic role played by Mordaunt and his wife Elizabeth in the achievement of Restoration, and how the unfinished state of the textual project adds to our knowledge of the social and political difficulties experienced by Mordaunt, a client of Clarendon. Beyond its historiographical value for understanding the activities of the plenipotentiary, the book helps to tell the story of Mordaunt’s headlong career from his treason trial in 1658 to his impeachment in 1667, the extraordinary supportive agency of Elizabeth, including managing secret correspondence in 1659, the complexities of the Mordaunts’ friendship with John Evelyn, and their loyalty to their fallen patron Clarendon extending to exile in Montpellier in 1668.

Recent epistemology has introduced a new criterion of adequacy for analyses of knowledge: such an analysis, to be adequate, must be compatible with the common view that knowledge is better than true belief. One account which is widely thought to fail this test is reliabilism, according to which, roughly, knowledge is true belief formed by reliable process. Reliabilism fails, so the argument goes, because of the "swamping problem". In brief, provided a belief is true, we do not care whether or not it was formed by a reliable process. The value of reliability is "swamped" by the value of truth: truth combined with reliability is no better than truth alone. This paper approaches these issues from the perspective of decision theory. It argues that the "swamping effect" involves a sort of information-sensitivity that is well modelled decision-theoretically. It then employs this modelling to investigate a strategy, proposed by Goldman and Olsson, for saving reliabilism from the swamp, the so-called "conditional probability solution". It concludes that the strategy is only partially successful.

Scholars and providers are coming to realize that one’s ability to notice and respond to internal body sensations contributes to an overall sense of wellbeing. Research has demonstrated a relationship between interoceptive awareness and anxiety, for example. Currently, however, tools for evaluating one’s interoception lack the conceptual foundation and clarity necessary to identify everyday behaviors that specifically reflect interoceptive awareness. Unlike existing interoceptive measures, the Sensory Profile Interoception scale is participation-based and grounded in Dunn’s Sensory Processing framework. In this study we investigated concurrent validity by correlating the SPI with the Adolescent/Adult Sensory Profile ; we investigated construct validity by correlating the SPI with the Perth Alexithymia Scale, the Body Awareness Scale, and the State-Trait Anxiety Inventory. Using the REDCAP online platform, 74 college-aged participants completed the measures. Using Spearman rank order correlations there were statistically significant relationships between the corresponding sensory pattern subscales on SPI and A/ASP. The PAS was only weakly related to the registration subscale of the SPI. The BAS had significant relationships with seeking and avoiding on the SPI. The STAI had significant relationships with sensitivity and registrations of the SPI. Taken together, these findings provide evidence of construct validity of the SPI to identify participation patterns associated with both high and low interoception. With the more precise information the SPI provides, professionals can design tailored interventions to support everyday life goals and researchers can study interoception within authentic activities.