This volume of collected essays brings together conversations, papers, and debates from the Third Annual North American Anarchist Studies Network Conference in San Juan, Puerto Rico. Nathan Jun and Jorell A. Meléndez aspire to go beyond a simple collection of papers and instead aim to maintain a dialogue among different academic fields with the sole task of comprehending and re-thinking anarchist studies. With over twenty-one chapters written by a diverse range of activists, organizers, musicians, artists, poets, and academics, (...) this book transgresses the apparent simplicity of the study of anarchism with a dynamic and interdisciplinary approach that crystallizes and emulates the heterogeneous nature of the anarchist ideal. From theory and philosophy to historical analyses, methodologies, and perspectives, from different manifestations in the arts, media, and culture to religion, ethics, and spirituality, from the intersectionality of animal liberation and queer struggles to contemporary praxis and organizing, the authors explore different topics from a critical perspective that is often lacking in their respective academic fields. This book is a must-buy for critical teachers, students, and activists interested in studying anarchism and the different ways in which we can transform our reality. (shrink)

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then I (...) discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

The assumption that wholes have properties, specifically causally efficacious properties, which the sum of its parts seem to lack, lends support to the argument that wholes are something more than the sum of their parts. The properties of the whole are taken to be the result of the particular arrangement of the whole’s parts. The rearrangement of parts makes new properties emerge for a particular whole. This creates hierarchical ontological levels of properties in an object. My purpose in this paper (...) will be to undermine the preceding lines of thought as valid support for wholes being “over and above” the sums of their parts. I begin by pointing out that the costs of a theory where arrangement entails new, unique and distinct properties for a whole carry two unattractive commitments: a reliance on a scientifically disproved version of early Emergentism and causal redundancy. I, then, present an alternative theory to explain the relationship between the properties of wholes and arrangement: my contention will be that the properties that we attribute to wholes are actually the manifestation of preexisting, but heretofore unmanifested, properties of parts, which manifest only when a specific part comes in contact with another specific part in a particular arrangement. I argue that the properties of a part are all we need to give a complete account for the properties of a whole. (shrink)