The philosophy of measurement studies the conceptual, ontological, epistemic, and technological conditions that make measurement possible and reliable. A new wave of philosophical scholarship has emerged in the last decade that emphasizes the material and historical dimensions of measurement and the relationships between measurement and theoretical modeling. This essay surveys these developments and contrasts them with earlier work on the semantics of quantity terms and the representational character of measurement. The conclusions highlight four characteristics of the emerging research program in (...) philosophy of measurement: it is epistemological, coherentist, practice oriented, and model based. (shrink)

In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...) phenomena in their fullness. (shrink)

In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy of music, which (...) is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

I show that there are good arguments and evidence to boot that support the language as an instrument of thought hypothesis. The underlying mechanisms of language, comprising of expressions structured hierarchically and recursively, provide a perspective (in the form of a conceptual structure) on the world, for it is only via language that certain perspectives are avail- able to us and to our thought processes. These mechanisms provide us with a uniquely human way of thinking and talking about the world (...) that is different to the sort of thinking we share with other animals. If the primary function of language were communication then one would expect that the underlying mechanisms of language will be structured in a way that favours successful communication. I show that not only is this not the case, but that the underlying mechanisms of language are in fact structured in a way to maximise computational efficiency, even if it means causing communicative problems. Moreover, I discuss evidence from comparative, neuropatho- logical, developmental, and neuroscientific evidence that supports the claim that language is an instrument of thought. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...) between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language and (...) the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

We advance a theory of the representational role of Euclidean diagrams according to which they are samples of co-exact features. We contrast our theory with two other conceptions, the instantial conception and Macbeth’s iconic view, with respect to how well they accommodate three fundamental constraints on theories of the Euclidean diagrammatic practice— that Euclidean diagrams are used in proofs whose results are wholly general, that Euclidean diagrams indicate the co-exact features that the geometer is allowed to infer from them and (...) that Euclidean diagrams play the same role in both direct proofs and indirect proofs by reductio—and argue that our view is the one best suited to account for them. We conclude by illustrating the virtues of our conception of Euclidean diagrams as samples by means of an analysis of Saccheri’s quadrilateral. (shrink)

The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect of language (...) use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (shrink)

Wittgenstein’s experiments on rhythm, conducted in Charles Myers’s laboratory in Cambridge during the years 1912–13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. (...) Dramatically moving beyond the conceptual limitations, which were inscribed by Charles Myers’s scientific program, Wittgenstein got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in what we actually do when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility, so a new aspect may come to life. (shrink)

I argue that the ability to compute phrase structure grammars is indicative of a particular kind of thought. This type of thought that is only available to cognitive systems that have access to the computations that allow the generation and interpretation of the structural descriptions of phrase structure grammars. The study of phrase structure grammars, and formal language theory in general, is thus indispensable to studies of human cognition, for it makes explicit both the unique type of human thought and (...) the underlying mechanisms in virtue of which this thought is made possible. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis (...) is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

Sentences that are ungrammatical and yet intelligible are instances of what I call perfectly thinkable thoughts. I argue that the existence of perfectly thinkable thoughts is revealing in regard to the question of why syntactic islands should exist. If language is an instrument of thought as understood in the biolinguistics tradition, then a uniquely human subset of thoughts is generated in narrow syntax, which suggests that island constraints cannot be rooted in narrow syntax alone and thus must reflect interface conditions (...) imposed on the output of the computational system and its mapping to external systems. (shrink)

This essay explores Wittgenstein’s encounter with Stumpf’s work in Tone Psychology during a rarely studied period in Wittgenstein’s early career when he worked as a researcher in Myers’s laboratory for experimental psychology in Cambridge. I argue that Stumpf’s emphasis on the notion of musicality as the ability to characterize what is ‘musical’ about music troubled Wittgenstein’s initial formulation of his career-long adherence to the comparison between language and music. In the Tractatus the importance of internal projective relations far exceeds that (...) of arbitrariness in language. This results in the curious elision of musicality in the Tractatus, as shown in his gramophone analogy. The acknowledgment of the enormous complexity pertaining to the facts of human life remained underdeveloped in Wittgenstein’s philosophy until the anthropological turn in his middle-period. Only then do we see the blooming of the language-as-music simile and its eventual impact on Wittgenstein’s later philosophy. (shrink)

Wittgenstein composed five original musical fragments during his transitional middle period, in which he employs musical notation as a means by which to convey his philosophical thoughts. This is an overlooked aspect of the importance of aesthetics, and musical thinking in particular, in the development of Wittgenstein’s philosophy. We explain and evaluate the way the music interlinks with Wittgenstein’s philosophical thoughts. We show the direct relation of these musical examples as precursors to some of Wittgenstein’s most celebrated ideas (the push (...) beyond the inner/outer picture, the problem of rule-following, and aspect perception). We also show how important broad aesthetic notions such as style and composition concerning the very possibility of philosophizing were to Wittgenstein. (shrink)

This book discusses the two main construals of the explanatory goals of semantic theories. The first, externalist conception, understands semantic theories in terms of a hermeneutic and interpretive explanatory project. The second, internalist conception, understands semantic theories in terms of the psychological mechanisms in virtue of which meanings are generated. It is argued that a fruitful scientific explanation is one that aims to uncover the underlying mechanisms in virtue of which the observable phenomena are made possible, and that a scientific (...) semantics should be doing just that. If this is the case, then a scientific semantics is unlikely to be externalist, for reasons having to do with the subject matter and form of externalist theories. It is argued that semantics construed hermeneutically is nevertheless a valuable explanatory project. (shrink)

Visitors is a hybrid art film fusing photography and music into a complex abstract texture for the attention of the viewer. It is also a requiem for our ‘New Order for the Ages’ in which humanity grows more and more technologically interconnected and communality means being alone together. We argue that Visitors can be experienced as a seeing aid designed to situate the viewer bewilderingly as needing to reacquire the capacity to see human beings as human beings. This is achieved (...) by various cinematic strategies of dépaysement, which render the familiar uncommon again by enabling us to recapture the uncanniness of what it is to be human. Most strikingly, seeing one another anew is facilitated in Visitors by the autonomous gradual musical processes of Philip Glass’s minimalist score, which not only affords a musical narrative for the imagery but also binds the film ironically to Beethoven’s Ninth Symphony. (shrink)

While Wittgenstein harked back to Romantic sentiments concerning the ineffable connection between musical depth and knowledge of human inner life, he nonetheless responded to them critically, while at the same time interweaving them into his forward thinking about the philosophic entanglements of language and the mind. In this paper I offer a thorough reading of Wittgenstein’s reorientation of metaphors of musical depth in a way that is conducive to a conception of knowledge of human beings which pushes beyond the inner/outer (...) dichotomy. (shrink)

Wittgenstein’s experiments on rhythm (1912-13) were based on Charles Myers’s 1911 written protocols for laboratory exercises. The experiments provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Years before the Tractatus, Wittgenstein already got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in the possibilities of aesthetic conversation, in what we actually do when (...) we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility. These initial insights were bound to recede into the background for a while by the mounting demands of the Tractatus framework, only to fully bloom in Wittgenstein’s later work. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms of vertically (...) interrelated language-games which facilitate Menschenkenntnis. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take the opportunity to (...) relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was sure (...) to be misunderstood. (shrink)

This study explored the experiences of the newly-hired faculty in the university to acquire an in-depth and profound understanding of these experiences. It involved eight purposively chosen faculty in a semi-structured interview and focus group discussion documented in voice and video recorders. Using Colaizzi’s seven step-approach to data analysis, results revealed three paradoxical themes: the joys and struggles of teaching, successes and pains of learning, and the privileges and challenges of serving. On the one hand, the joys and struggles of (...) teaching were brought about by their adjustments in instruction. On the other hand, successes and pains of learning centered on professional growth. Finally, the privileges and challenges of serving incorporated the experiences in research, production, and extension. Generally, these teachers have experienced ups and downs in their first two years of teaching at a higher education institution. On the basis of study findings, implications and recommendations are discussed. (shrink)

Mirvac chief executive Susan Lloyd-Hurwitz, not one usually associated with sympathy for tenants on the rental market, said earlier this year that ‘renting in Australia is generally a very miserable customer experience…the whole industry is set up to serve the owner not the tenant’ Her observation is basically correct and the solution she offers is to change the current situation where small investors, supported by generous government tax concessions, provide effectively all of the country’s private rental housing. Lloyd-Hurwitz wants Mirvac, (...) a property group currently managing over $15 billion of assets, to become an apartment landlord that would own not one or several properties like small investors currently do but rather thousands of properties to rent out. The proposal is for Mirvac to build apartment blocks and then, instead of selling individual apartments, rent them out on long-term or indefinite leases. This build-to-rent housing scheme would of course make the real estate–investment company a great deal of money. At the same time it would do very little to alleviate the current housing crisis. Such schemes are a nonstarter for people who want the security, stability and independence of home ownership, which is a very Australian aspiration that is increasingly becoming unobtainable not only for those experiencing homelessness, but also for the poor and middle-class. Those of us who care about finding a real solution to the housing crisis would do well to consider how we got into this situation in the first place, and then consider how this might inform what we do next. The following then, traces some of the historical and philosophical roots of our understanding of property and their institutionalisation via various levels of government, especially in the Australian context. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and ramifications regarding not (...) only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...) and the music of the future. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...) of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

Putting together Kant's theory of emotion is complicated by two facts: (1) Kant has no term which is an obvious equivalent of "emotion" as used in contemporary English; (2) theorists disagree about what emotions are. These obstacles notwithstanding, my dissertation aims to provide the foundation for a reconstruction of Kant's theory of emotion that is both historically accurate and responsive to contemporary philosophical concerns. In contrast to available approaches which rest on contested assumptions about emotions, I start from the generally (...) accepted and reasonable premise that what we call "emotions" refers in Kant to a set of mental states, some of which he associates with the feeling of pleasure and displeasure ("feelings"), others with the faculty of desire ("desires"). I then proceed to examine the nature of these two kinds of mental states and their proper treatment. I argue that Kantian feelings are representations of objects' relation to the subject, that have a felt quality, and dispose their subject to certain behaviors. While feelings can only motivate action by causing desires and have no temporal direction, desires - except for certain wishes - are future-directed, which allows them to motivate actions immediately (but they need not bring action about). Equipped with this account of feelings and desires, I proceed to examine the kind of treatment Kant prescribes for them, and argue that feelings (except affects) should be cultivated, that is, acquired and improved so that they could be used to pursue rational ends, while inclinations, i.e., habitual sensuous desires, should generally be disciplined, that is, constrained by rules. The resultant picture is compelling because it rests on minimal assumptions about emotions and successfully incorporates the phenomenological, evaluative, and dispositional functions traditionally associated with emotions. (shrink)

In this Element, the author set out to answer a twofold question concerning the importance of music to Wittgenstein's philosophical progression and the otherness of this sort of philosophical importance vis-à-vis philosophy of music as practiced today in the analytic tradition. The author starts with the idea of making music together and with Wittgenstein's master simile of language-as-music. The author traces these themes as they play out in Wittgenstein early, middle, and later periods. The author argues that Wittgenstein's overarching reorientation (...) of the concept of depth pertaining to music in the aftermath of his anthropological turn, and against the backdrop of the outlook of German Romanticism, culminates in his unique view of musical profundity 'knowledge of people'. This sets Wittgenstein's view in sharp contrast with certain convictions and debates that typify current analytically bent philosophy of music. (shrink)

Offers a commentary on the Report 'A Fair Path to Universal Health Coverage' from the perspective of the Director of the Ethiopian Ministry of Health.

Family members can provide crucial support to individuals participating in clinical trials. In research on the “newest frontier” of Deep Brain Stimulation (DBS)—the use of DBS for psychiatric conditions—family member support is frequently listed as a criterion for trial enrollment. Despite the significance of family members, qualitative ethics research on DBS for psychiatric conditions has focused almost exclusively on the perspectives and experiences of DBS recipients. This qualitative study is one of the first to include both DBS recipients and their (...) family members as interview participants. Using dyadic thematic analysis—an approach that takes both the individuals and the relationship as units of analyses—this study analyzes the complex ways in which family relationships can affect DBS trial participation, and how DBS trial participation in turn influences family relationships. Based on these findings, we propose ways to improve study designs to better take family relationships into account, and better support family members in taking on the complex, essential roles that they play in DBS trials for psychiatric conditions. (shrink)

While the ethical significance of caregivers in neurological research has increasingly been recognized, the role of caregivers in brain- computer interface (BCI) research has received relatively less attention. Objectives: This report investigates the extent to which caregivers are mentioned in publications describing implantable BCI (iBCI) research for individuals with motor dysfunction, communication impairment, and blindness. Methods: The scoping review was conducted in June 2024 using the PubMed and Web of Science bibliographic databases. The articles were systematically searched using query terms (...) for caregivers, family members, and guardians, and the results were quantitatively and qualitatively analyzed. Results: Our search yielded 315 unique studies, 78 of which were included in this scoping review. Thirty-four (43.6%) of the 78 articles mentioned the study participant’s caregivers. We sorted these into 5 categories: Twenty-two (64.7%) of the 34 articles thanked caregivers in the acknowledgement section, 6 (17.6%) articles described the caregiver’s role with regard to the consent process, 12 (35.3%) described the caregiver’s role in the technical maintenance and upkeep of the BCI system or in other procedural aspects of the study, 9 (26.5%) discussed how the BCI enhanced participant communication and goal-directed behavior with the help of a caregiver, and 3 (8.8%) articles included general comments that did not fit into the other categories but still related to the importance of caregivers in the lives of the research participants. Discussion: Caregivers were mentioned in less than half of BCI studies in this review. The studies that offered more robust discussions of caregivers provide valuable insight into the integral role that caregivers play in supporting the study participants and the research process. Attention to the role of caregivers in successful BCI research studies can help guide the responsible development of future BCI study protocols. (shrink)

This chapter responds to Michael Tamir and Elay Shech’s chapter “Understanding from Deep Learning Models in Context.”.

On my interpretation of Kant, feeling plays a central role in the mind: it has the distinct function of tracking and evaluating our activity in relation to ourselves and the world so as to orient us. In this article, I set out to defend this view against a number of objections raised by Melissa Merritt and Uri Eran. I conclude with some reflections on the fact that, despite being very different, Merritt and Eran’s respective views of Kantian feelings (...) turn out to have something potentially problematic in common: they blur the boundary between feelings and other kinds of mental states. (shrink)

The powerful role that teachers can play in our development is the focus Binyamin, Jayusi, and Tamir’s chapter in this volume. They argue that teachers, in particular teachers that don’t share the same background as their students, can help counter the increasing polarization that characterizes our current era. In these critical notes I raise three challenges to their proposal. First, by exploring the mechanisms of polarization I demonstrate that polarization is not a problem unique to thick diversity or thick (...) multiculturalism. Second, the central premise of the authors’ proposal rests on the ability of greater contact to reduce prejudice. The contact hypothesis, however, has numerous backlash effects and unintended consequences that can increase prejudice rather than reduce prejudice. These backlash effects and unintended consequences raise serious doubts for the success of placing minority teachers in majority classrooms to reduce prejudice. Third, I raise concerns about how the proposal tokenizes minority teachers, the use of instrumental rationales for diversity, and the politics of deference and being-in-the-room privilege that also go unaddressed in their proposal. (shrink)

In 2014, questionable police killings of Eric Garner, Michael Brown, and Tamir Rice sparked mass protests and put policing at the center of national debate. Mass protests erupted again in 2020 after the brutal police killing of George Floyd. These and other incidents have put a spotlight on a host of issues that threaten the legitimacy of policing—excessive force, racial bias, over-policing of marginalized communities, historic injustices that remain unaddressed, and new technology that increases police powers. This introduction gives (...) an overview of these ethical challenges facing police today and the democratic institutions that oversee them. It then outlines the various interdisciplinary perspectives—from Black studies, criminology, history, law, philosophy, political science, and sociology—collected in the volume. Together, these contributions aim to clarify the question of which ethical principles should guide police, where current practices fall short, and what strategies hold the most promise for addressing these failures. (shrink)

El día dieciséis de julio de este año, un día después de la festividad de san Buenaventura, este santo franciscano, doctor de la Iglesia, recibió un regalo: una de las personas que aquí y ahora más conocía de su obra, pensamiento y fuentes, iba a ir a visitarlo. Ambos tenían, al fin, la oportunidad de conocerse en persona. Para sus amigos fue un regalo muy caro. Nuestro amigo Francisco de Asís Clavero Blanco nos dejó físicamente, pero sus estudios y su (...) obra perdura y perdurará con nosotros.' Decir que alguien conoce a san Buenaventura no es fácil, pues en este pensador franciscano se conjugan aspectos filosóficos, teológicos, históricos y espirituales que llevan en sí una carga histórica compleja que se desarrolla en un tiempo, a la vez, complejo, apasionante y alejado en el tiempo: el siglo XIII. No en vano, la figura de san Buenaventura fue tildada por algunos como "la más medieval de la filosofía del Medioevo".Pero Francisco de Asís Chavero se preparó para afrontar este reto y más. Nacido en Rivera del Fresno en 1945, profesó en la Orden Franciscana en la Provincia Bética el 6 de agosto de 1967. Se ordenó presbítero el 21 de julio de 1973. Cursó filosofía y teología en el Centro de Estudios Teológicos de Sevilla, en la Facultad de Teología de Granada, en el Pontificio Ateneo Antonianum y en el Centro de Investigación de Quarachi de la Orden Franciscana situada en Grottaferrata en Roma. Estos estudios hicieron que quedara corta su titulación de Licenciado en S. Teología, sección Histórico?Dogmática. En el momento en el que le sorprendió la muerte era profesor de Teología Sistemática, Antropología Teológica y Pensamiento Franciscano en el Instituto Franciscano de Murcia.El perfil de su formación, trabajo y dedicación nos ayuda a comprender por qué a Francisco de A. Chavero no se le escapaba ningún detalle del pensamiento bonaventuriano. No había aspecto de su pensamiento filosófico, teológico, espiritual o franciscano que no conociera. Su obra, sus ediciones, las fuentes, los estudios e interpretaciones sobre el doctor Seráfico eran, no sólo conocidas por él, sino también estudiadas, pensadas e interpretadas. De todo lo que acabo de decir dan fe sus escritos y las extensísimas notas a pie de página que nos regalaba. Hablando de su trabajo siempre mostraba la visión de fondo que impregnaban sus estudios: el de historiador de la teología. Esto no significa que desde esta perspectiva histórica no fuera capaz de percibir y apuntar conceptos nuevos y visiones originales.Francisco de Asís Clavero Blanco colaboró en numerosas revistas como Verdad 1, Vida, Carthaginensia, Estudios Franciscanos, Doctor Seraphicus, Themata, Archivum Franciscanum Historicurn, etc. Era miembro de la Sociedad Escotista Internacional , del Centro di Studi Bonaventuriani , Asociación Hispánica de Estudios Franciscanos y compañero de la Sociedad Española de Filosofía Medieval . Me gustaría en estas páginas repasar aunque sea brevemente el legado intelectual de este pensador franciscano. (shrink)

O Brasil possui um efeito significativo de caprinos, sendo o Nordeste a região com maior expressão deste rebanho. Por mais que a caprinocultura nordestina enfrente inúmeros desafios como a alta mortalidade dos cabritos, escassez de recursos alimentares, abates clandestinos etc., a atividade vem ganhando notoriedade, oferecendo aos consumidores produtos de qualidade para consumo. Diante deste cenário, separou-se 20 caprinos das raças Boer e SPRD, distribuídos em dois grupos, 10 animais recebendo dieta à base de feno padrão de capim Tifton-85 e (...) suplementação concentrada de 25 g/cabeça/dia e o suplemento de palma forrageira cv. Miúda juntamente com farelo da vagem da algaroba e grãos de feijão guandu, misturados e fornecidos em duas refeições diárias (8h e 16h) e um grupo de 10 animais, o grupo controle, recebendo apenas feno padrão e o concentrado na mesma proporção que o grupo experimental. Os animais foram separados preconizando-se a homogeneização do peso corporal e a idade. Foram avaliados os padrões de ganho de peso diário, o consumo de matéria seca e de nutrientes e a idade de abate destes animais conforme o desempenho. Os animais iniciaram o experimento com 25,6±1,6 kg e foram abatidos com 35±2,5 kg. O grupo experimental apresentou maior ganho de peso diário em comparação com o grupo controle (128±6 g vs. 106±9 g), consequentemente o grupo experimental apresentou uma idade de abate menor do que o grupo controle (73±4 vs. 89±8 dias). O rendimento de carcaça do grupo experimental foi maior que o do grupo controle (54,2±0,8 vs. 52,7±0,7%). Diante desses resultados, pôde-se afirmar que uma dieta com palma miúda, farelo da vagem de algaroba e grãos de feijão guandu favorece um maior ganho de peso e um encurtamento na idade de abate de caprinos de corte e SPRD. REFERÊNCIAS BIBLIOGRÁFICAS ABEBE, H.; TAMIR, B.. Effects of supplementation with pigeon pea (Cajanus cajun), cowpea (Vigna unguiculata) and lablab (Lablab purpureus) on feed intake, body weight gain and carcass characteristics in Wollo sheep fed grass hay. International Journal of Advanced Research in Biological Sciences, v. 3, n. 2, p. 280-295, 2016. ALMEIDA, M. A. D. et al. (Orgs.). Criando caprinos e ovinos no Semiárido: manejo e doenças 1ª ed. Salvador: EDUFBA, 2023. ARAÚJO, G. G. L. Alternativas alimentares para caprinos e ovinos no Semiárido. In: VII Seminário Nordestino Pecuário - PECNORDESTE 2003. Anais. Fortaleza - CE, 2003. p. 61-80. BARROS, J. R. L; CRUZ, G. R. B.; MELO, D. A. Caracterização do manejo alimentar de caprinos e ovinos na microrregião do cariri ocidental do estado da Paraíba. Revista Brasileira de Agroecologia, v. 13, n. 4, 2018. BELMONT, A. R. B. et al. Algaroba na alimentação animal. 1ª ed. Natal: SEBRAE/RN, 2016. CONTRERAS-VILLARREAL, V. et al. Complementación alimenticia con mezquite y naranja en cabras: efecto sobre el calostro, leche y cabritos. Abanico veterinario, v. 12, 2022. DA SILVA EIC. A água na nutrição animal. 1ª ed. Recife, PE: Instituto Agronômico de Pernambuco, 2023. DA SILVA, Emanuel Isaque Cordeiro. Cálculos de consumo e digestibilidade de alimentos e nutrientes para ruminantes. Revista Universitária Brasileira, v. 1, n. 3, p. 71-88, 2023. DA SILVA, Emanuel Isaque Cordeiro. Concentrados e Rações Para Cabras em Lactação. 2022. DA SILVA, Emanuel Isaque Cordeiro. Efeitos da raça e do manejo nutricional sobre as características de qualidade da carcaça e da carne em ovinos. Revista Universitária Brasileira, v. 2, n. 1, p. 61-81, 2024. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia da Reprodução de Bovinos Leiteiros: Aspectos Básicos e Clínicos. Emanuel Isaque Cordeiro da Silva, 2022. DA SILVA, Emanuel Isaque Cordeiro. Formulação de ração para caprinos. Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Formulação e Avaliação de Suplemento Mineral Para Caprinos. Instrução Técnica Para o Produtor Rural de Pernambuco, v. 3, n. 1, p. 1-4, 2023. DA SILVA, Emanuel Isaque Cordeiro. Formulação e fabricação de rações para ruminantes. 1ª ed. Belo Jardim: Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Formulação e Fabricação de Rações Para Ruminantes: Bovinos, Caprinos e Ovinos. 2021. DA SILVA, Emanuel Isaque Cordeiro. Manejo Reprodutivo e Índices Zootécnicos em Gado de Leite. 2023. DA SILVA, Emanuel Isaque Cordeiro. Métodos de Formulação e Balanceamento de Rações para Bovinos. Belo Jardim: Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Nutrição Sobre a Reprodução e Fertilidade dos Bovinos. Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Opções de concentrados para vacas em lactação no Semiárido. 2022. DA SILVA, E. I. C. Suplementação e formulação de sal mineral e mistura múltipla para bovinos. Revista Universitária Brasileira, v. 2, n. 1, 2024. 27-52. DA SILVA, K. B. Utilização de palma forrageira (Nopalea cochenillifera) como fonte exclusiva de forragem na dieta de ovinos. Tese (Doutorado Integrado em Zootecnia) - Centro de Ciências Agrárias, Campus II - UFPB. Areia, 2021. 83 p. GARCÍA-LÓPEZ, J. C. et al. Producción y contenido nutrimental de vainas de tres variantes de mezquite (Prosopis laevigata) en el altiplano potosino, México. Agrociencia, v. 53, n. 6, p. 821-831, 2019. LUCENA, R. B. Utilização da palma forrageira (nopalea cochenillifera) nas formas in natura e desidratada sobre: consumo, digestibilidade, balanço hídrico e absorção de minerais em ovinos. Dissertação (Mestrado em Nutrição de Ruminantes) - Departamento de Zootecnia, UFRPE. Recife, 2011. 77 p. MEDEIROS, L. P.; SAMPAIO, C. F. Desempenho de caprinos SRD em regime de confinamento. In: V Seminário de Pesquisa Agropecuária do Piauí. Anais. Teresina: Embrapa, 1988. p. 183-185. OLIVEIRA, A. P. D. Mandioca e farelo da vagem de algaroba na alimentação de caprinos mestiços. Dissertação (Mestrado em Ciência Animal) - Centro de Ciências Agrárias, Ambientais e Biológicas, UFRB. Cruz das Almas, 2012. 57 p. OLIVEIRA, L. L. et al. Native legumes and spineless cactus in supplementation of goats grazing in Caatinga rangeland: intake, performance, carcass characteristics, and meat quality. Acta Scientiarum. Animal Sciences, v. 44, p. e56445, 2022. OLIVEIRA, L. L. Suplementação com leguminosas sobre o desempenho e característica da carcaça de caprinos em crescimento no Semiárido. Dissertação (Mestrado em Ciência Animal e Pastagens) - UFRPE. Garanhuns, 2014. 90 p. OLIVEIRA, R. L. et al. Alimentos alternativos na dieta de ruminantes. Revista Científica de Produção Animal, v. 15, n. 2, p. 141-160, 2013. ROGÉRIO, M. C. P. et al. Manejo alimentar de caprinos e ovinos nos trópicos. Veterinária e Zootecnia, v. 23, n. 3, p. 326-346, 2016. SILVA, J. G. M. et al. Cactáceas nativas na alimentação de ruminantes. Revista Científica de Produção Animal. v. 15, n. 1. p. 53-62. 2013. SOUSA, F. A. Desempenho de cabritos alimentados com variedades de palma forrageira resistente a cochonilha do carmim. Dissertação (Mestrado em Zootecnia) - Centro de Ciências Agrárias, UFPB. Areia, 2015. 71 p. VALADARES FILHO, S. C. et al. (Eds.). Tabelas brasileiras de composição de alimentos para ruminantes. 1ª ed. Viçosa: UFV, 2015. (shrink)

Se reflexiona sobre los orígenes de la identidad mestiza latinoamericana y sobre el papel del mestizaje cultural en la búsqueda de caminos propios que den respuesta a los valores nacidos de la peculiar historia de Nuestra América. Se analiza también, desde el punto de vista axiológico, el proceso de independencia latinoamericano (1810-1825), sus alcances y límites identitarios. El cambio radical que implicó la Independencia exigía también un cambio de cultura. Pero la cultura autóctona no estaba preparada para suplir a la (...) que hasta entonces había sido dominante. Había que comenzar por pensar la cultura propia, por indagar cuál era ella y qué sistema social estaría en correspondencia con sus valores. Si cae en descrédito el sistema de valores que durante tres centurias había sido impuesto, si todavía no hay plena conciencia del sistema propio, si además a ambos se tildan de inferiores, por hispánico uno y por mestizo el otro, entonces es lógico que se busque en otro lugar el sistema de valores que habría de instituirse oficialmente en las nacientes repúblicas americanas. La lógica de la época empujaba al latinoamericano a depositar sus ojos en la otra Europa, en la Europa avanzada, de la cual los Estados Unidos de Norteamérica eran vistos ya como una mera extensión extracontinental. Allí parecía estar el porvenir, el futuro de progreso, el mejor sistema de valores posible. ¿Lo estaba en realidad? (shrink)

Adentrarse en el pensamiento político de la Grecia clásica es retornar a las acepciones éticas proferidas por los filósofos de ese momento, como, en este caso, de Platón y de su discípulo Aristóteles, cuyos intereses por la comprensión racional de la conducta humana no eran más que una diáfana preocupación por la consecución del bienestar de los individuos al interior de las ciudades griegas, donde se consideraba de gran importancia la formación de ideas, instituciones y asociaciones. En efecto, los (...) vínculos sociales y la configuración de actitudes que decantan en el objetivo del bienestar social implican una atención especial al concepto de ética-política, en tanto que la incorporación de acciones regidas por la razón determina las relaciones entre los individuos de una misma nación. Teniendo esto en cuenta, en el presente artículo se expone la acepción aristotélica de justicia, con el objetivo de precisar la importancia de dicha virtud en el nexo ético-político de la Grecia clásica, periodo al que asistió el mismo Aristóteles. (shrink)

El objetivo central de este trabajo fue identificar los patrones funcionales-valorativos presentes en un corpus de informes de arbitraje, género clave en la producción de conocimiento científico. Para el análisis, se utilizó un procedimiento que implicó, primero, la identificación de los elementos funcionales o propósitos comunicativos más frecuentes y, luego, su descripción con algunas categorías del modelo de la valoración. El corpus, de carácter intencionado, estuvo compuesto por 42 informes de arbitraje de la revista de lingüística y traducción de la (...) Pontificia Universidad Católica de Chile, Onomázein. Algunos de los resultados muestran que los propósitos comunicativos más frecuentes son “Describir un problema”, “Destacar un aspecto positivo”, “Solicitar una acción” y “Sugerir una acción”. La alta frecuencia de los propósitos “Describir un problema” y “Destacar un aspecto positivo” eran esperables en un género evaluativo. Ambos propósitos se focalizan más en elementos de contenido y presentan un fuerte posicionamiento monoglósico intensificado con significados de Gradación. El patrón monoglósico puede explicarse por la situación de poder en que se encuentra el árbitro al ser el evaluador del artículo. La alta frecuencia de los propósitos comunicativos “Solicitar acción” y “Sugerir acción” da cuenta de la función negociadora del género. Por último, tanto en la solicitud como en la sugerencia de acciones, los significados de actitud tienen como foco los elementos de forma y no de contenido. (shrink)

La doctrina establecida por la Corte Suprema de Justicia de la Argentina en relación a los crímenes de lesa humanidad cometidos durante la última dictadura militar, expresamente declaraba la obligación del Estado de investigar y juzgar a los responsables de su comisión. La Corte no sólo caracterizó dichos delitos, sino que también estableció que no eran susceptibles de amnistía, indulto, ni prescripción. Pero, en el año 2017 dictó el fallo “Muiña” donde, por voto mayoritario, decidió otorgarle el beneficio del (...) “2 por 1” a un condenado por dichos delitos. La consecuencia fue su inmediata libertad por el vencimiento de la condena. La respuesta de la sociedad fue clara. Con diversas manifestaciones, la sociedad civil, las instituciones y las personalidades públicas se declararon en contra de la sentencia. Más aún, del voto de los mismos jueces se observan expresiones que denotan un gran pesar a la hora de tomar la decisión. Más precisamente, sostenían estar ante un dilema. En este trabajo, lejos de realizar un análisis de la interpretación jurídica que se efectuó en la sentencia, se propone trabajar sobre el concepto de dilema y la posibilidad de aplicación en el presente caso. La finalidad concreta es indagar si se está ante un dilema y en su caso si los jueces utilizan este concepto como un arma argumentativa para lograr adhesión o compasión de la opinión pública. En este sentido, se comenzará relatando el marco jurídico del fallo, donde se describirá la historia judicial de Muiña y los argumentos dados por el voto mayoritario y el minoritario de la Corte. Luego, se realizará un análisis del concepto de dilema, para reconstruirlo sobre la base de dos grandes posturas: Una lógica conceptual y otra fenomenológica. Posteriormente, se realizará un examen de la dimensión institucional del derecho y la moralidad judicial, para - finalmente - poder intentar responder si se está efectivamente ante un dilema. (shrink)

Este artículo examina el papel del grupo de artistas abstractos Forma 1 en relación con la política cultural del Partido Comunista Italiano durante la posguerra, como ejemplo de los intentos de superar la dicotomía establecida en Italia entre arte abstracto y realismo socialista y producir una alternativa a la confrontación entre ambos discursos estéticos. Mientras los artistas realistas socialistas subrayaban la necesidad de expresar contenidos políticos explícitos con un estilo que asegurase su máxima legibilidad para una audiencia de masas, los (...) artistas de Forma 1 argumentaban que la abstracción significaba una crítica de la representación pictórica que podía contribuir a la crítica de la ideología burguesa, armonizando de este modo el marxismo con los desarrollos artísticos más avanzados. El PCI, por su parte, basaba su política artística en amplias alianzas de artistas e intelectuales antifascistas, que cada vez eran más difíciles de mantener en el clima de creciente confrontación política y cultural que siguió a la II Guerra Mundial. (shrink)