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Bu çalışmada, 20. yüzyıl Amerikalı New York okulu bestecisi Morton Feldman’ın, besteci Bunita Marcus ile Türkiye ve İran’da yapmış oldukları geziler sonrası aldıkları kilim ve halıların Feldman’ın müzikal görüşlerinde ve notasyon biçimlerinde yapmış olduğu yenilikler incelenmiştir. Morton Feldman, müzik literatürüne pek çok yeni fikir ve yeni notasyon tekniği kazandırmıştır. Bu kazandırmış olduğu yeniliklerin kaynaklarından birinin de Türk ve İran halıları ile bağıntısının gün yüzüne çıkartılması, Feldman’ın müziğine ve nota diline getirdiği yeniliklerin irdelenmesi ile bu araştırmanın pek çok müzisyene yol gösterici olması amaçlanmıştır. Morton Feldman, Türkiye ve İran gezilerinde almış olduğu kilim ve halılardaki simetrik ve asimetrik desenlerden etkilenip, daha sonra “Spring of Chosroes”, “Why Patterns?”, “Patterns in a Chromatic Field”, “Crippled Symmetry” adlı eserleri bestelemiş ve müzik literatürüne yeni bir besteleme tekniği kazandırmıştır. Bu araştırma, Morton Feldman’ın adı geçen eserlerinin daha kolay anlaşılmasını, eserlerinin daha geniş müzisyen kitlelerce icra edilmesinin teşvikini sağlayacaktır. In this study, the innovations that the 20th century American New York school composer Morton Feldman has made in Feldman's musical views and notation styles, with the rugs and carpets they bought after their travels with the composer Bunita Marcus in Turkey and Iran were examined. Morton Feldman introduced many new ideas and new notation techniques to the music literature. It is aimed that this research will be a guide for many musicians by revealing one of the sources of the innovations it has brought, its relation with Turkish and Iranian carpets, and examining the innovations that Feldman brought to his music and musical notation. Morton Feldman was influenced by the symmetrical and asymmetrical patterns on the rugs and carpets he bought during his trips to Turkey and Iran, and later composed the works "Spring of Chosroes", "Why Patterns?", "Patterns in a Chromatic Field", "Crippled Symmetry" and brought a new meaning to the music literature composing technique. This research will provide an easier understanding of Morton Feldman's works and encourage the performance of his works by a wider audience of musicians.

Robert Fogelin has argued that in deep disagreements, resolution cannot be achieved by rational argumentation. In response, Richard Feldman has claimed that deep disagreements can be resolved in a similar way to more everyday disagreements. I argue that Feldman’s claim is based on a relatively superficial notion of “resolution” of a disagreement whereas the notion at stake in Fogelin’s argument is more substantive. Furthermore, I argue that Feldman’s reply is based on a particular reading of Fogelin’s argument. There is an alternative reading, which takes the central concern to be the role of common ground in argumentation. Engaging with this version of Fogelin’s argument is also a worthwhile endeavour., Robert Fogelin a soutenu que dans les désaccords profonds, on ne peut pas obtenir une resolution par une argumentation rationnelle. En réponse, Richard Feldman a affirmé qu’on peut résoudre des désaccords profonds de la même manière que les désaccords quotidiens. Je soutiens que l’affirmation de Feldman est basée sur une notion relativement superficielle de «résolution» d’un désaccord alors que la notion en jeu dans l’argument de Fogelin est plus substantielle. En outre, j’affirme que la réponse de Feldman se fonde sur un type particulier d’interprétation de l’argument de Fogelin. Il existe une interprétation alternative, dont la préoccupation centrale est le rôle du terrain d'entente dans l'argumentation. S'engager avec cette version de l'argument de Fogelin est également un effort valable.

Abstract. Social Desirability (SD) scales are sometimes treated, by researchers, as measures of dishonesty and, by practitioners, as indicators of faking on self-report assessments in high-stakes settings, such as personnel selection. Applying SD scales to measure dishonesty or faking, however, remains a point of contention among the scientific community. This two-part study investigated if SD scales, with a True/ False response format, are valid for these purposes. Initially, 46 participants completed an SD scale and 12 personality items while under instruction to “think aloud”, that is, to verbalize all the thoughts they had. These spoken thoughts were recorded and transcribed. Next, 175 judges rated the participants’ honesty in relation to each SD item, based on the participants’ transcribed spoken thoughts and their selected response to the item. The results showed that responses keyed as “socially desirable responding” were judged as significantly less honest than those not keyed as such. However, the effect size was very small, and the socially desirable responses were still being judged as somewhat honest overall. Further, participants’ SD scale sum scores were not related to the judges’ ratings of participant honesty on the personality items. Thus, overall, SD scales appear to be a poor measure of dishonesty.

Consideramos neste artigo a afirmação cética de que devemos suspender o juízo nos casos de desacordo. Discutimos brevemente o argumento para a suspensão de juízo nos casos de desacordo apresentados por Sexto Empírico e propomos um argumento com base nas considerações de Feldman sobre o desacordo entre pares epistêmicos. Desenvolvemos então três objeções a esse argumento. We consider in this article the skeptical claim that we should suspend judgment in cases of disagreement. We briefly discuss the argument for the suspension of judgment in cases of disagreement presented by Sextus Empiricus and present an argument based on Feldman's considerations on the disagreement between epistemic pairs. We then raise three objections to this argument.

Статья освещает некоторые аспекты проблемы, связанной с реализацией комплекса «живописного» в музыкальной композиции Мортона Фелдмана. Сквозь призму «логики ощущений» — центрального концепта трактата Ж. Делёза «Фрэнсис Бэкон: Логика ощущения» — рассмотрен ряд общих для музыки композитора и живописи представителей абстрактного экспрессионизма моментов: параллели в восприятии акта творчества и в подходе к созданию композиции, отношение к пространственно-временно́му фактору, родство элементов композиционной техники. Акцентированы существенные для композиционной риторики Фелдмана идеи: «вещественность» тактильной составляющей, статика звукового процесса, «безначальность» атаки звука, варьированный повтор и репетитивность как основополагающие принципы работы со «звуковыми объектами». Формой опосредованного влияния визуального искусства на музыку Фелдмана является перенесение потенциальных соответствий живописи во внутренние слои музыкальной композиции — на уровень структуры и «текстуры» материала., The article covers some aspects of the problem of implementing of the complex “picturesque” in the musical composition of Morton Feldman. Through the prism of the “logic of sensations”— the central concept of a treatise by J. Deleuze Francis Bacon: Logique de la sensation— several aspects common to composer’s music and painting by representatives of abstract expressionism are considered: parallels in the perception of the act of creativity and in the approach to creating a composition, relation to the space-time factor, the relationship of a number of compositional elements technology. The ideas essential for the composition rhetoric of Feldman are emphasized: the “materiality” of the tactile component, the static of the sound process, the “sourceless” of the sound, the varied repetition and repetitiveness as the fundamental principles of working with “sound objects”. The form of the mediated influence of visual art on Feldman’s music is the transfer of potential correspondences to painting in the inner layers of a musical composition— to the level of structure and “texture” of the material., Научный вестник Московской консерватории, Выпуск 1 (36) 2019, Page 14–31

This study adopted 30 first year graphic design students’ artwork, with critical analysis using Feldman’s model of art criticism. Data were analyzed quantitatively; descriptive statistical techniques were employed. The scores were viewed in the form of mean score and frequencies to determine students’ performances in their critical ability. Pearson Correlation Coefficient was used to find out the correlation between students’ studio practice and art critical ability scores. The findings showed most students performed slightly better than average in the critical analyses and performed best in selecting analysis among the four dimensions assessed. In the context of the students’ studio practice and critical ability, findings showed there are some connections between the students’ art critical ability and studio practice.

In a 2006 paper I claimed that the virtue arguments or inferences must have is not that they be truth-preserving, but that they be entitlement-preserving (in Brandom’s sense of that phrase). I offered two reasons there why such a conception of argument virtue is needed for a satisfactory treatment of defeasible arguments and inferences. This paper revisits that claim, and assesses the prospects for a more thorough defence than was offered in that paper.

When epistemic peers disagree, what should a virtuous arguer do? Several options have been defended in the recent literature on the epistemology of disagreement, which connects interestingly to the controversy launched by Fogelin’s famous paper on ‘deep disagreement.’ I will argue that Fogelin’s case is transformed by the new work on disagreement, and that when seen in that broader epistemological context ‘deep’ disagreement is much less problematic for argumentation theory than it once seemed.

Among those who reject the Epicurean claim that death is not bad for the one who dies, it is popularly held that death is bad for the one who dies, when it is bad for the one who dies, because it deprives the one who dies of the good things that otherwise would have fallen into her life. This view is known as the deprivation account of the value of death, and Fred Feldman is one of its most prominent defenders. In this paper, I explain why I believe that Feldman’s argument for the occasional badness of death fails. While staying within an Epicurean framework, I offer an alternative that adequately accounts for a significant range of widely held intuitions about prudential value. My account implies that death is almost always good for the one who dies, yet often less good than not dying. Finally, I discuss some puzzles that remain for my account and hint at possible ways to address them. Entre aqueles que rejeitam a defesa de Epicuro de que a morte não é nociva para quem morre, é popularmente considerado que a morte é nociva para quem morre, quando nociva para aquele que morre, porque o priva das coisas boas que poderiam ocorrer na sua vida. Esta via é conhecida como a apreciação de privação do valor da morte, da qual Fred Feldman é um dos defensores mais proeminentes. Neste artigo explico porque creio que o argumento de Feldman para a maldade ocasional da morte falha. No seio dum enquadramento epicurista, proponho uma alternativa que responde de forma adequada a um conjunto significativo de intuições amplamente difundidas sobre o valor prudencial. A minha apreciação implica que a morte é quase sempre boa para aquele que morre, mas muitas vezes menos boa do que não morrer. Por último, discuto alguns enigmas que permanecem na minha análise e possíveis formas de resolvê-los.

Encyclopedia of Music in Ireland entry on Kevin Volans

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Las discusiones sobre epistemología confiabilista suelen centrarse en el examen de teorías de proceso confiable, según las cuales una creencia es justificada syss es producida por procesos que son generalmente confiables. Pero la noción de "proceso-tipo confiable" es muy controvertida. Por ejemplo, autores como Conee y Feldman consideran que las teorías de la justificación de proceso confiable son irremediablemente defectuosas, debido al "problema de la generalidad". En este trabajo me propongo bosquejar la idea central de justificación en términos confiabilistas, y determinar hasta qué punto se pueden sostener las críticas de Conee y Feldman contra la noción alstoniana de confiabilismo de proceso. Finalmente, sugiero una estrategia para neutralizar las objeciones de Conee y Feldman, y una propuesta esquemática para justificar los procesos-tipo que generan las creencias confiables. Discussions on reliabilist epistemology use to focus in the examination of reliable process theories, according to which, a belief is justified iff is the outcome of processes that are generally reliable. But the notion of "reliable type-process" is a very controversial one. For example, authors like Conee and Feldman think that theories of justification of reliable processes are hopelessly defective due to the "problem of generality". In this paper I intend to give an outline of the central idea of justification from a reliabilist perspective, and to determine the point up to which Conee and Feldman's criticisms against the Alstonian notion of reliabilism of process are tenable. Finally, I suggest a strategy to neutralize Conee and Feldman's objections and I give a schematic proposal to justify the type-processes generated by reliable beliefs.