Metal music today is bathed in a glow of serenity relative to its function as designated by Soviet authorities only thirty years ago. Mikhail Gorbachev permitted a Monsters of Rock concert to be st...

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (shrink)

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...) has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)