Seeing with Ears, Hearing with Eyes. How Technology Molds Synesthesia Within Us -/- The subject of consideration within this lecture is the contribution of existing scientific discoveries on the visual and musical connection within the perceptual plane. Points of reference are the studies of Amir Amedi, Jacob Jolij and Maaieke Meurs, Harry McGurk, as well as, the works of Iwona Sowińska, Roger Scruton, Oliver Sacks, and a cultural analysis of Joshua Bell’s performance. I will also consider how the senses effect (...) each other, pursuing the diversified reception of vision, which consists of the sense of hearing [sic!], on which I would like to focus attention. -/- Paper structure:  Introduction to key concepts in the fields of research and development,  The visual outlook on hearing,  The aural perspective on vision,  Relationships to related sciences,  Summary of multimedia examples,  An attempt to extend the “techno-view” to the auditory senses within synesthesia. (shrink)

Harmony is a generally agreed-upon idea in international and diplomatic discourse. A common theme in multiple traditions of thought, Platonist and Confucian among others, it underlies today’s significant investments in musical activism, cultural diplomacy, conflict resolution and peace building. Yet despite this wide currency and long history, the idea of harmony seldom receives more than liminal attention in political theory. In the context of Western thought, an essay written in the 1830s by the French philosopher Jean Reynaud offers a striking (...) point of departure: Reynaud defines diplomacy as ‘the science of harmony among states’. This article, drawing from Reynaud’s text as well from the wider history of music, art and political thought, maps a series of conceptual fault lines that touch on the concept’s function in international thought; the inscription of difference, dissonance, conflict and even war within the idea of harmony; the hegemonic and imperial temptations harmony encompasses and legitimizes; and the theoretical sources of harmony in nature and artifice. In effect, the concept of harmony offers less a blueprint than a forum for imagining peace. (shrink)

Granting that the `soul' was only an attractive and mysterious thought, from which philosophers rightly, but reluctantly, separated themselves - that which they have since learnt to put in its place is perhaps even more attractive and even more mysterious. The human body, in which the whole of the most distant and most recent past of all organic life once more becomes living and corporal, seems to flow through this past and right over it like a huge and inaudible torrent: (...) the body is a more wonderful thought than the old `soul'. (Nietzsche, 1973: 132-3) Man is but breath and a shadow. (Sophocles). (shrink)

Journal of International Political Theory, Ahead of Print. Harmony is a generally agreed-upon idea in international and diplomatic discourse. A common theme in multiple traditions of thought, Platonist and Confucian among others, it underlies today’s significant investments in musical activism, cultural diplomacy, conflict resolution and peace building. Yet despite this wide currency and long history, the idea of harmony seldom receives more than liminal attention in political theory. In the context of Western thought, an essay written in the 1830s by (...) the French philosopher Jean Reynaud offers a striking point of departure: Reynaud defines diplomacy as ‘the science of harmony among states’. This article, drawing from Reynaud’s text as well from the wider history of music, art and political thought, maps a series of conceptual fault lines that touch on the concept’s function in international thought; the inscription of difference, dissonance, conflict and even war within the idea of harmony; the hegemonic and imperial temptations harmony encompasses and legitimizes; and the theoretical sources of harmony in nature and artifice. In effect, the concept of harmony offers less a blueprint than a forum for imagining peace. (shrink)

Harmony is a generally agreed-upon idea in international and diplomatic discourse. A common theme in multiple traditions of thought, Platonist and Confucian among others, it underlies today’s significant investments in musical activism, cultural diplomacy, conflict resolution and peace building. Yet despite this wide currency and long history, the idea of harmony seldom receives more than liminal attention in political theory. In the context of Western thought, an essay written in the 1830s by the French philosopher Jean Reynaud offers a striking (...) point of departure: Reynaud defines diplomacy as ‘the science of harmony among states’. This article, drawing from Reynaud’s text as well from the wider history of music, art and political thought, maps a series of conceptual fault lines that touch on the concept’s function in international thought; the inscription of difference, dissonance, conflict and even war within the idea of harmony; the hegemonic and imperial temptations harmony encompasses and legitimizes; and the theoretical sources of harmony in nature and artifice. In effect, the concept of harmony offers less a blueprint than a forum for imagining peace. (shrink)