Being-with Smartphones

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.

on the divide: analytic and continental philosophy of music

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).

reviews/musings on groove

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.

from the author’s perspective: groove

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