My paper, “Being-with Smartphones,” is forthcoming in Techné: Research in Philosophy and Technology. Here’s the near-final abstract:
In a social situation, why is it sometimes off-putting when a person reaches for his smartphone? In small-group contexts such as a college seminar, a business meeting, or a small musical performance, when an individual begins texting or interacting with social media on her smartphone she may disengage from the group. When we do find this off-putting, we typically consider it to be just impolite or inappropriate. In this essay I argue that something more profound is at stake. One significant way in which individuals shape their self-identities is through interactions with others in small groups. Much identity-work is interdependent; it requires generating and preserving social contexts. I argue that the smartphone-use of some individuals can fracture a group’s context and thus negatively affect the identity-work of others. In this essay I examine identity-work, sociality, and personal technology from the perspective of existential phenomenology.
For what it’s worth, I’m regularly active online only here: twitter.com/TigerRoholt
My 2017 essay, “On the Divide: Analytic and Continental Philosophy of Music,” which was published in The Journal of Aesthetics and Art Criticism, is one of the top-downloaded articles in the journal’s recent publication history. (By January 2018, the article had been downloaded 549 times.)
For an interesting response to my essay see Andreas Vrahimis, “Is There a Methodological Divide between Analytic and Continental Philosophy of Music? Response to Roholt.” In The Journal of Aesthetics and Art Criticism (Volume 76, no. 1, 2018).
I’ll be presenting a new version of my new paper “Being-with Smartphones” at the Morris Museum (in Morristown NJ), on March 25, 2019. The paper abstract is on Ello.
During the last couple of years I’ve been developing research in the philosophy of technology. I am currently writing and rewriting an essay about individual identity, sociality, and smartphones.
Follow these links for reviews and discussions of my book Groove: A Phenomenology of Rhythmic Nuance. I really appreciate the time these reviewers and writers invested in the book.
- Google Scholar citations
- Journal of Aesthetic Education, review by Andrew Kania (volume 51, number 1, 2017)
- Popular Music, review by Philip Boast (volume 36, issue 2, 2017)
- British Journal of Aesthetics, review by Jeanette Bicknell (volume 56, number 4, 2016)
- Notes, review by Scott Gleason (volume 73, number 1, 2016)
- Journal of Aesthetics and Art Criticism, review by Justin London (volume 74, Issue 1, 2016)
- Journal of Aesthetics and Phenomenology, review by Milan Jilka (volume 2, Issue 1, 2015)
- Notre Dame Philosophical Reviews, review by Clément Canonne (2/18/2015)
- Dancecult: Journal of Electronic Dance Music Culture, review by Daniel Schnee (volume 7, number 2, 2015)
- Choice: Current Reviews for Academic Libraries. (March, 2015)
- Under the Radar, by Frank Valish
- Brettworks, by Thomas Brett
- My piece “From the Author’s Perspective…” in the Spring 2015 American Society for Aesthetics Newsletter: 35.1
- Groove back-cover endorsements
I’ve written a fairly lengthy piece—”From the Author’s Perspective: Groove: A Phenomenology of Rhythmic Nuance”—which appears in the new American Society for Aesthetics Newsletter. Here is the opening paragraph:
How should we understand the relationship between music and body movement? The common view is that a listener’s body movement is a reaction to, an effect of, perceiving music. I don’t doubt that this is, in part, correct. I claim in Groove, however, that moving our bodies is often something that we do in order to grasp certain rhythmic qualities; our movement is an integral part of a perceptual skill for grasping qualities such as a groove. We know that the perception of music is not passive; I view bodily movement as a component of one’s active perception of music. To develop this, I draw upon the phenomenologist Maurice Merleau-Ponty’s account of embodied perception, emphasizing his notion of motor intentionality. Before we get to this, though, let’s take a few steps back…
Read the rest here: 35.1