Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines (...) several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...) been used to, on one hand, stage a critique of Afrodiasporic musics, and specifically jazz, and, on the other hand, diminish and obscure the relation between the post-classical and Afrodiasporic avant-gardes. In the second part I will develop another lineage of rhythm, orthogonal to that of the post-classical avant-garde. Drawing from philosophy and Afrocentric, Afromodernist and, finally, Afrofuturist theory, I will map a theoretical move from rhythm understood, in its post-classical guise, as an exclusive and strictly musical category, to rhythm understood as an inclusive and plural category. This likewise charts a passage from an aesthetically autonomous understanding of objects of art to social and collective forms of artistic practice. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

The concept of metaphor as primarily a vehicle for conveying ideas, even if unusual ones, seems to me as wrong as the parent idea that a metaphor has a special meaning. I agree with the view that metaphors cannot be paraphrased, but I think this is not because metaphors say something too novel for literal expression but because there is nothing there to paraphrase. Paraphrase, whether possible or not, inappropriate to what is said: we try, in paraphrase, to say it (...) another way. But if I am right, a metaphor doesn't say anything beyond its literal meaning. This is not, of course, to deny that a metaphor has a point, nor that that point can be brought out by using further words.... My disagreement is with the explanation of how metaphor works its wonders. To anticipate: I depend on the distinction between what words mean and what they are used to do. I think metaphor belongs exclusively to the domain of use. It is something brought off by the imaginative employment of words and sentences and depends entirely on the ordinary meanings of those words and hence on the ordinary meanings of the sentences they comprise. Donald Davidson is University Professor of philosophy at the University of Chicago. He is the author of many important essays, including "Actions, Reasons and Causes," "Causal Relations," and "Truth and Meaning," coauthor of Decision-Making: An Experimental Approach, and coeditor of Words and Objections, Semantics of Natural Language, and The Logic of Grammar. (shrink)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

We argue that work on norms provides a way to move beyond debates between proponents of individualist and structuralist approaches to bias, oppression, and injustice. We briefly map out the geography of that debate before presenting Charlotte Witt’s view, showing how her position, and the normative ascriptivism at its heart, seamlessly connects individuals to the social reality they inhabit. We then describe recent empirical work on the psychology of norms and locate the notions of informal institutions and soft structures with (...) respect to it. Finally, we argue that the empirical resources enrich Witt’s ascriptivism, and that the resulting picture shows theorists need not, indeed should not, choose between either the individualist or structuralist camp. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

In recent years noise seems to have become an interdisciplinary concept par excellence, apt to capturing important dynamics at work whether in technological, scientific, social, or aesthetic domains. But when economists, biologists, psychologists, and musicians speak of noise, are they really all referring to the same thing? In An Epistemology of Noise Cecile Malaspina takes this dispersion of the notion of noise as a starting point, and moreover accepts that, when removed from its mathematical formulation in information theory and spread (...) into diverse disciplines, noise takes on a metaphorical ambiguity. Yet rather than aiming to eliminate this ambiguity, Malaspina sets out to account for it. The key problem in An Epistemology of Noise is not to identify the legitimate usage of the concept of noise, but rather to examine what happens when noise moves between disciplines, and what the ‘noisiness’ of this movement tells us about the conditions for interdisciplinary knowledge. Noise here is both an object (or many objects) of inquiry and a condition for that inquiry, and presents us with the problem of how knowledge can find its ground in these ‘shifting sands’ (9). (shrink)

In this paper I argue that presentism has a problem accounting forthe truth of statements whose truth conditions seem to require therebe relations that hold between present and non-present objects. Imotivate the problem and then examine several strategies for dealingwith the problem. I argue that no solution is forthcoming, and thispresents a prima facie problem for presentism.

I try to lay bare some of the conceptual space in which one may be a Social Trinitarian. I organize the paper around answers to five questions. These are: (1) How do the three Persons of the Trinity relate to the Godhead? (2) How many divine beings or gods are there? (3) How many distinct centers of consciousness are there in the Godhead? (4) How many omnicompetent beings are there? (5) How are the Persons of the Trinity individuated? I try (...) to make clear costs and benefits of various answers to these questions. (shrink)

This response focuses on Balibar’s method of thinking transindividuality through multiple figures, in their similarities as well as their productive differences. His essay ‘Philosophies of the Transindividual: Spinoza, Marx, Freud’ combines the three titular figures in order to better think the multifaceted idea of ‘classical’ transindividuality. Balibar’s method combines the three but nonetheless maintains their dissimilarities as real differences. This response attempts to test or apply that method in two ways. The first application links Balibar’s analysis of Freud’s hypnotic leader (...) with a theme Balibar does not here discuss: wonder’s connection to superstition in Spinoza. At the level of their effects, superstitious wonder and hypnosis are nearly identical transindividual processes which lead to affective mass formation. However, their causes are quite distinct. This response details the similar effects and different causes, then asks the question: does their difference render them irreconcilable or complementary? Given the prominent role Spinoza plays in Balibar’s work, and the strong overall equivalence of wonder and hypnosis, this first application of Balibar’s method of multiple combination likely presents a complementarity rather than a conflict. This response’s second application, attempting to integrate another figure into the transindividual multiple, presents greater difficulties: what role, if any, could Foucault play in Balibar’s transindividuality? With Foucault, the tensions or differences perhaps amount to fundamental and thoroughgoing incompatibilities. However, combining Foucault with ‘classical’ transindividuality potentially extends and deepens each. This response concludes with examples of these problematic tensions as well as possibly fruitful combinations. (shrink)

Most direct reference theorists about indexicals and proper names have adopted the thesis that singular propositions about physical objects are composed of physical objects and properties.1 There have been a number of recent proponents of such a view, including Scott Soames, Nathan Salmon, John Perry, Howard Wettstein, and David Kaplan.2 Since Kaplan is the individual who is best known for holding such a view, let's call a proposition that is composed of objects and properties a K-proposition. In this paper, I (...) will attempt to show that a direct reference view about the content of proper names and indexicals leads very naturally to the position that all singular propositions about physical objects are K-propositions.3 Then, I will attempt to show that this view of propositions is false. I will spend the bulk of the paper on this latter task. My goal in the paper, then, is to show that adopting the direct reference thesis comes at a cost problems the view has with problems such as opacity and the significance of some identity statements; it comes at even more of a cost). (shrink)

This is a critical notice of Theodore Sider's book, _Four-Dimensionalism_.

This is a paper in which I argue that problems of transworld identity and the truth in-truth at distinction are motivated by unhelpful pictures we have in mind while doing metaphysics.

O objetivo deste capítulo é analisar o conceito de informação como uma ação significativa em sistemas complexos adaptativos. A comunicação e a linguagem são vistas como sistemas complexos por Maturana & Varela (1994), cuja principal característica é a auto-organização. Para estes autores, a comunicação é literalmente o conjunto de ações comuns em um coletivo de agentes. Sob uma vertente enativa semiótica, decidimos então: 1. Replicar resultados de convergência léxica e ampliar os resultados obtidos por Loula et al. (2003) e Loula (...) (2004); 2. Para isso, foi concebido e implementado o SIMPS - Simulador de Processos Semióticos; e 3. Analisar o conceito de informação como ação significativa, isto é, como ações envolvidas em processos semióticos, cujos significados se encontram nos usos coletivos das palavras e expressões de jogos de linguagem. Apesar de entendermos que nem toda informação é adaptativa, buscamos gerar informações passíveis de trazer vantagens adaptativas para grupos de agentes. Nosso modelo de simulação aponta, dentre outros resultados, que informações falsas podem ser mais prejudiciais do que informação alguma. (shrink)

I argue that abstract objects cannot depend on God for their existence and nature.

Desde Descartes a epistemologia tem se baseado no conhecimento de primeira pessoa. Devemos começar, de acordo com a história usual, com o que é mais certo: o conhecimento de nossas próprias sensações e pensamentos. De uma maneira ou outra, progredimos então, se pudermos, para o conhecimento de um mundo externo objetivo. Há por fim uma passagem tênue ao conhecimento das outras mentes. Defendo uma total revisão desse quadro. Todo pensamento proposicional, quer positivo ou cético, sobre o interior ou sobre o (...) exterior, exige a posse do conceito de verdade objetiva, e esse conceito está acessível apenas a criaturas que estão em comunicação com outras. O conhecimento de outras mentes é, assim, básico para todo o pensamento. Mas esse conhecimento exige e supõe o conhecimento de um mundo compartilhado de objetos em um espaço e tempo comuns. Assim, a aquisição do conhecimento não é baseada em uma progressão do subjetivo para o objetivo; ele emerge holisticamente e é interpessoal desde o começo. (shrink)

Spinoza’s concepts of wonder, the imitation of affects, cheerfulness, and devotion provide the basis for a Spinozist aesthetics. Those concepts from his Ethics, when combined with his account of rituals and festivals in the Theological-Political Treatise and his Political Treatise, reveal an aesthetics of social affects. The repetition of ritualised participatory aesthetic practices over time generates a unique ingenium or way of life for a social group, a singular style which distinguishes them from the general political body. Ritual and the (...) imitation of affects explain why specific styles of art are associated with consistent styles of bodily modifications, clothing, and affects. This paper claims, not that already similar people flock to the same art, but rather, that immersion in the same art is what produces their similarity. Art (especially in the immersive, festival-like experience of live performance) can generate the affect of devotion, which intensifies in-group love, temporarily blocks affects of sadness, and focusses one intently on the aesthetic experience due to devotion’s connection to wonder. Cheerfulness shows that, through variation of aesthetic objects, art can cause pleasure without risking excess. In addition, while politics’ central affect is sad fear, aesthetically-united groups are bound by joyful affects. (shrink)

Qual é a relação entre uma razão e uma ação quando a razão explica a ação, dando a razão do agente para fazer o que fez? Podemos chamar tais explicações de racionalizações, e dizer que a razão racionaliza a ação. Neste artigo quero defender a posição antiga — e de senso comum — de que a racionalização é uma espécie de explicação causal b. A defesa sem dúvida exige alguma reelaboração, mas não parece necessário abandonar a posição, como muitos autores (...) recentes insistem. (shrink)

This work examines Michel Foucault’s critique of the present, through his analysis of our hidden but still active historical legacies. His works from the Eighties are the beginning of what he called a “genealogy of the desiring subject,” in which he shows that practices such as confession—in its juridical, psychological, and religious forms—have largely dictated how we think about our ethical selves. This constrains our notions of ethics to legalistic forbidden/required dichotomies, and requires that we engage in a hermeneutics of (...) the self which consistently fails to discover its imagined authentic self, or to find the happiness and freedom promised by contemporary ethics. In order to think the modern self in different terms, Foucault’s later works analyzed Classical and Hellenistic ethical sources, emphasizing their distance from today. He hoped doing so would allow us to rethink our current assumptions about ethical matters, the truth of oneself, and the relation to others. While Foucault’s genealogical descriptions critically diagnosed contemporary ills such as these, he did not prescribe a cure, preferring to let his readers experiment with new practices of their own design. This work attempts such an experiment, supplying concrete solutions to our ethical ills, in order to help us improve, as well as understand, our ethical selves. To that end, this work demonstrates that a form of subjectivity based on Benedict Spinoza’s ethical and political works avoids the pitfalls of modern ethics as diagnosed by Foucault. Additionally, the practices of the self found in Spinoza can be used to directly counter and displace each central element of “desiring subjectivity,” and thus supplies the kind of effective positive move which should follow after genealogical critique. (shrink)

Ethical decision-making frameworks assist in identifying the issues at stake in a particular setting and thinking through, in a methodical manner, the ethical issues that require consideration as well as the values that need to be considered and promoted. Decisions made about the use, sharing, and re-use of big data are complex and laden with values. This paper sets out an Ethics Framework for Big Data in Health and Research developed by a working group convened by the Science, Health and (...) Policy-relevant Ethics in Singapore Initiative. It presents the aim and rationale for this framework supported by the underlying ethical concerns that relate to all health and research contexts. It also describes a set of substantive and procedural values that can be weighed up in addressing these concerns, and a step-by-step process for identifying, considering, and resolving the ethical issues arising from big data uses in health and research. This Framework is subsequently applied in the papers published in this Special Issue. These papers each address one of six domains where big data is currently employed: openness in big data and data repositories, precision medicine and big data, real-world data to generate evidence about healthcare interventions, AI-assisted decision-making in healthcare, public-private partnerships in healthcare and research, and cross-sectoral big data. (shrink)

This is an article on the metaphysics of Alvin Plantinga. It is from the Blackwell Companion to Metaphysics (2009).

In this paper, I explore various views on which mind-body dualism is true, but the soul is located in the body. I argue that this sort of dualism (which I call 'somatic dualism') once was a not-uncommon view in the philosophy of mind. I also argue that it has the resources to reply to some of the problems thought to affect Cartesian dualism.

The essay "Rational Animals" is translated from the book: Donald Davidson: Subjective, Intersubjective, Objective. Oxford: Clarendon Press 2001, pp. 95-105.

Roderick M. Chisholm (1916-1999) was one of the most important philosophical thinkers of the 20th century. His influence on epistemology (the theory of knowledge) and metaphysics cannot be understated; indeed, it is difficult to conceive of what these fields would be like today without the impact of Chisholm. Were there a Nobel Prize in philosophy, Chisholm surely would have won it.

In this paper we set out a view on which internalist proper basicality is secured by sensory experience.

The essay "Semantics for Natural Languages" is here translated from a collection of Davidson's essays published under the title "Inquiries into Truth and Interpretation", Claredon Press, Oxford 1984.

Machine learning algorithms may radically improve our ability to diagnose and treat disease. For moral, legal, and scientific reasons, it is essential that doctors and patients be able to understand and explain the predictions of these models. Scalable, customisable, and ethical solutions can be achieved by working together with relevant stakeholders, including patients, data scientists, and policy makers.

In this essay, I consider Sally Haslanger’s social constructivist account of race and propose a modification to the nature of hierarchy specified. According to Haslanger, race will cease to exist post-hierarchy, given that she builds in a requirement of synchronic hierarchy for the existence of race. While Haslanger maintains that racial identity would linger beyond hierarchical treatment in the form of ethnicity, I will suggest this fails to provide adequate conceptual justice for the cultures and aesthetics which emerged out of (...) past oppression. In response, I propose a modification which would allow us to recognize the possibility of post-hierarchical races. (shrink)

For the past 30 years, Alvin Plantinga's work in the metaphysics of modality has been both insightful and innovative; it is high time that his papers in this area be collected together in a single volume. This book contains 11 pieces of Plantinga's work in modal metaphysics, arranged in chronological order so one can trace the development of his thought on matters modal. In what follows I will lay out the principal concepts and arguments in these papers.

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

The text "A Unified Theory of Thought, Meaning, and Action" is translated here from Donald Davidson's book: Problems of Rationality.Oxford University Press, 2004. pp.151-166.

The text "Truth and Meaning" is translated here from Donald Davidson's book: Donald Davidson - Inquiries into Truth and Interpretation (Philosophical Essays of Donald Davidson) (1984), pp. 17-37.

The text is translated from the book by D. Davidson: Truth, Language, and History. Oxford University press, 2005.pp. 127-141.

Perhaps no one has done more in the last 30 years to advance thinking in the metaphysics of modality than has Alvin Plantinga. Collected here are some of his most important essays on this influential subject. Dating back from the late 1960's to the present, they chronicle the development of Plantinga's thoughts about some of the most fundamental issues in metaphysics: what is the nature of abstract objects like possible worlds, properties, propositions, and such phenomena? Are there possible but non-actual (...) objects? Can objects that do not exist exemplify properties? Plantinga gives thorough and penetrating to all of these questions and many others. This volume contains some of the best work in metaphysics from the past 30 years, and will remain a source of critical contention and keen interest among philosophers of metaphysics and philosophical logic for years to come. (shrink)