This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.

My primary aim in this article is to provide a philosophical account of the unity of hallucinations, which can capture both perceptual hallucinations (which are subjectively indistinguishable from perceptions) and non-perceptual hallucinations (all others). Besides, I also mean to clarify further the division of labour and the nature of the collaboration between philosophy and the cognitive sciences. Assuming that the epistemic conception of hallucinations put forward by M. G. F. Martin and others is largely on the right track, I will focus on two main tasks: (a) to provide a satisfactory phenomenology of the subjective character of perceptions and perceptual hallucinations and (b) to redress the philosophers’ neglect of non-perceptual hallucinations. More specifically, I intend to apply one of the central tenets of the epistemic conception—that hallucinations can and should be positively characterised in terms of their phenomenological connections to perceptions—to non-perceptual hallucinations as well. That is, I will try to show that we can positively specify the class of non-perceptual hallucinations by reference to the distinctive ways in which we first-personally experience them and perceptions in consciousness. The task of saying more about their underlying third-personal nature may then be left to the cognitive sciences.

This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.

Comparing the cases of the 4-H Clubs in Ohio and the progressive educational reforms in rural Saitama, Japan in the early twentieth century, this project points out that pragmatism laid the "cultural infrastructure" for the integration of farmers and their wartime mobilization in the two societies. I demonstrate that the pragmatic ideas of action, experience, and subjectivity transformed the key constitutive element of the relationship between the farmer and everyday farm work, and remade the engagement in everyday farm labor into a site of manifestation of nationalist subjectivity for the rural populations. I demonstrate that, in both the U.S. and Japan, pragmatic reconstitution of how people organized their everyday activities crystallized as the new "schema of practice"--A schema that farmers employed to construct, reflect, and imagine the structure and components of their everyday action and how they engaged in it. By pointing out the common mechanism of mobilization through the "schema of practice," I challenge the conventional assumptions that distinguish "authoritarian" pre-war Japan and the "democratic" United States based on ideological permeation. I argue that the nature of political ideology and the alleged presence (or lack) of political subjectivity do not directly explain people's political behavior. I reject ideology as a causal factor of political mobilization. I contend that nationalistic conduct was instead embedded in the everyday schema of action and experience, unmediated by the ideological structure. This project also illuminates the dissimilarities in the schemas of practice between two societies, and the resulting mechanisms of mobilization. In the United States, the subjectivity of the actor was defined as emergent through the objectification of action, in which the actor was externalized from his action. On the other hand, in Japan, the integrity of the rural subject was sought in the total immersion and unification of the actor and action--called "practicism" (jissennshugi). The desirable image of a good farmer was sought in the state of the internalization of the actor in action

This music score was submitted for the Kaleidoscope 2020 Call for Scores, an open access collaboration with the UCLA Music Library.