Of the Contract is a version of a text that is as old as any memory, or a form of instrument that constitutes the basis of accession to the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt implied by contract corresponds to a conception of accountancy and finance that offers (...) an approach to the sense of that external to the terms of human access. (shrink)

We criticize the bare theory of quantum mechanics -- a theory on which the Schrödinger equation is universally valid, and standard way of thinking about superpositions is correct.

Hilary Putnam argued that the special theory of relativity shows that there can be no temporal becoming. Howard Stein replied by defining a becoming relation in Minkowski spacetime. Clifton and Hogarth extended and sharpened Stein’s results. Game over? To the contrary, it has been argued that the Stein-Clifton-Hogarth theorems actually support Putnam’s contention, in that if an apparently minimal condition is put on the becoming relation, then these theorems entail that the becoming relation must be the universal relation. (...) I recount this dialectic in some detail and then try to define and defend a becoming relation based on a present that does indeed consist of more than one point or event but still satisfies the sort of objectivity requirements that Stein-Clifton-Hogarth require of a becoming relation. This present is not a global hyperplane or surface, however; it is a local structure. I close with some methodological remarks about the relation between the present and the real and about the importance of the specious or psychological present. (shrink)

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, and Piana, (...) which more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed. (shrink)