If the laws of nature are deterministic, then it seems possible that a Laplacean intelligence that knows the initial conditions and the laws would be able to accurately predict everything that will ever happen. However, it would be easy to construct a counterpredictive device that falsifies any revealed prediction about its future behavior. What would then occur if a Laplacean intelligence encountered a counterpredictive device? This is the paradox of predictability. A number of philosophers have proposed solutions to it, though (...) part of my aim here is to argue that the paradox is more pernicious than has thus far been appreciated, and therefore that extant solutions are inadequate. My broader aim is to argue that the paradox motivates Humeanism about laws of nature. (shrink)

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation (...) between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine. (shrink)

This chapter explores to what extent some core ideas of predictive processing can be applied to the phenomenology of time consciousness. The focus is on the experienced continuity of consciously perceived, temporally extended phenomena (such as enduring processes and successions of events). The main claim is that the hierarchy of representations posited by hierarchical predictive processing models can contribute to a deepened understanding of the continuity of consciousness. Computationally, such models show that sequences of events can be represented as states (...) of a hierarchy of dynamical systems. Phenomenologically, they suggest a more fine-grained analysis of the perceptual contents of the specious present, in terms of a hierarchy of temporal wholes. Visual perception of static scenes not only contains perceived objects and regions but also spatial gist; similarly, auditory perception of temporal sequences, such as melodies, involves not only perceiving individual notes but also slightly more abstract features (temporal gist), which have longer temporal durations (e.g., emotional character or rhythm). Further investigations into these elusive contents of conscious perception may be facilitated by findings regarding its neural underpinnings. Predictive processing models suggest that sensorimotor areas may influence these contents. (shrink)

Ernst Mach's atomistic theory of sensation faces problems in doing justice to our ability to perceive and remember complex phenomena such as melodies and shapes. Christian von Ehrenfels attempted to solve these problems with his theory of "Gestalt qualities", which he sees as entities depending one-sidedly on the corresponding simple objects of sensation. We explore the theory of dependence relations advanced by Ehrenfels and show how it relates to the views on the objects of perception advanced by Husserl and by (...) the Gestalt psychologists. (shrink)

In this paper, I reconstruct the reasons why Aristotle thinks that musical education is important for moral education. Musical education teaches us to enjoy appropriately and to recognize perceptually fine melodies and rhythms. Fine melodies and rhythms are similar to the kind of movements fine actions consist in and fine characters display. By teaching us to enjoy and recognise fine melodies and rhythms, musical education can train us to recognize and to take pleasure in fine actions and characters. Thus, musical (...) education can, up to a point, lead us toward the actions and character dispositions a virtuous life requires. (shrink)

The topic of the relationship between the organism and its environment runs through the theories of Uexküll, Goldstein and Canguilhem with equal importance. In this work a counterpoint will be established between their theories, in the attempt to assess at which points the melodies are concordant and at which points they are discordant. As fundamental basis to his theory, Uexküll relies on the concept of conformity to a plan, which allows him to account for the congruity and perfect adjustment between (...) organisms and their Umwelten. For Goldstein and Canguilhem, the relationship between an organism and its environment resembles instead a debate or coming to terms, in which the organism, as to ensure the continuity of the state of health, must constantly create norms to maintain a productive relationship with its environment. The pinpointing of these conceptual frameworks allows to lay emphasis on that each theory relies on specific assumptions regarding teleology and sense in organisms, as well as on specific definitions of the concept of life in general. Ultimately, the view that organisms and their environments have an original and common source, a principle, or plan, which must possess all the creative characteristics of life, will be seen as prevailing. (shrink)

A Few Notes on Aspect Seein g in Contemporar y Aesthetics In this paper author examines the problem of aspect seeing in reference to works of Ludwig Wittgenstein and Virgil C. Aldrich posing the question of whether they are applicable to experience of musical works. Drawing on examples from Wittgenstein’s Philosophical Investigations, author maintains that hearing a melody as solemn, sad, et cetera is neither universal nor unequivocal. Musical work, author suggests, does not present itself spontaneously to the listener. Conversely (...) it must be sought and found. To speak of aspect hearing or hearing as (as aesthetic hearing) in reference to music, one must seek out those qualities of musical work that are perceptual but also individually grasped in contrast to what is given in experience through acculturation and training. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

In 'The Work of Music and the Problem of Its Identity' by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which can (...) be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. (shrink)

Despite the ubiquity of bees in Dickinson’s work, most interpreters denigrate her nature poems. But following several recent scholars, I identify Nietzschean/Dionysian overtones in the bee poems and suggest the figure of bees/hive/queen illuminates as feminist key to her corpus. First, (a) the bee’s sting represents martyred death; (b) its gold, immortality; (c) its tongue, the “lesbian phallus”; (d) its wings, poetic power; (e) its buzz, poetic melody, and (f) its organism, a joyful Dionysian Susan (her sister-in-law and love interest) (...) to Emily’s flower. Second, the hive represents her individual poems (with slants/dashes as stingers, wings as hymn meter, honey as rhymes, variant words as exiled bees, and accompanying flowers their Darwinian coevolution with bees), constituting her writing persona as a multi-voiced self-swarm, as organized in the apiary of her letters and fascicles. And third, the queen represents her Western cultural and religious inheritance wherein bees are symbols of the soul, reincarnation, poetic-philosophical vocation, and a Nietzschean, trans-Dionysian naturalist ontology—symbolized by apiarian Artemis. (shrink)

Blanchot’s rejection of vision as the fundamental philosophical metaphor is well known: “Seeing is not speaking” (The Infinite Conversation (Minneapolis: U of Minnesota P, 1993) 25). Furthermore, his central idea of the limit-experience (borrowed from Bataille) is a “detour from everything visible and invisible” (210). As part of his Heideggerian heritage, the increased importance of hearing (and aurality in general) lacks the critical appraisal it deserves. Pari passu for voice. Blanchot’s investigation of voice, spoken, interior, literary, is extensive. Various works (...) of fiction, notably The One Who Was Standing Apart From Me, explore the meme, which is intensified in critical essays on Hölderlin, Kafka, Rilke, and Valéry, where the voice’s musicality is given to performance. The studies exemplify the operation of “pure voice,” voice no longer in relation to and under the constraints of the interlocutor: its rhythm, tempo, and melody. His clearest, though lapidary, remarks on voice appear in discussion of the Narcissus mythomeme. There, voice is related not only to Narcissus’ love of an (unrecognized) self but also to the intrigue of Echo and her mimetic reproduction of voice. I give a close reading of Blanchot’s rendition of Ovid’s story to show the central role that voice plays in his “great refusal” of philosophy and concomitant opening to the outside, the “beyond being,” its nomadism and messianism. (shrink)

Ernst Mach's atomistic theory of sensation faces problems in doing justice to our ability to perceive and remember complex phenomena such as melodies and shapes. Christian von Ehrenfels attempted to solve these problems with his theory of "Gestalt qualities", which he sees as entities depending one-sidedly on the corresponding simple objects of sensation. We explore the theory of dependence relations advanced by Ehrenfels and show how it relates to the views on the objects of perception advanced by Husserl and by (...) the Gestalt psychologists. (shrink)

The organism against its environment. The organism against other organisms, competing and struggling for life. Antagonism and confrontment as the only possible relation in nature. The tendency to anthropomorphize nature and explain it using concepts and facts from the human sphere. A stroll through the worlds of Uexküll and Merleau-Ponty in the search of alternative knowledge that allow us to understand relation from another point of view. A counterpoint and identification of common tonalities between the research programs from both thinkers (...) as a way to demonstrate the possibilities of a more fruitful approach. Umwelt as a generative system of meaningful relations in which its participants are not mutually exclusive, but express a melody that include them all. (shrink)

[ https://plus.google.com/108060242686103906748/posts/cwvdB6mK3J6 ] The phenomenal description on own thoughts regard me to describe Coleridge, along with William Wordsworth, was instrumental in initiating a poetic revolution in the early nineteenth century which is known as the Romantic Movement. Coleridge invokes the Divine Spirit that blows upon the wild Harp of Time. Time is like the stringed musical instrument on which the Spirit produces sweet harmonious melodies. Coleridge is perhaps best known for his haunting ballad Rime of Ancient Mariner, the dream-like Kubla (...) Khan and the unfinished Christabel, but he wrote several other smaller poems, quite remarkable for their imaginative power. (Edited with own analysis)…[http://philpapers.org/profile/112741] http://www.academia.edu/18834746/LITERATURE_I_DO-_THE_ROMANTICS_AND_SUBJECTIVITY_SAMUEL_TAYLOR_COLER IDGE. (shrink)

The distinctive claim of the Gestalt psychologists (of Prague, Graz, Berlin, Leipzig, and Vienna) is that we are typically aware of wholes which have “Gestalt qualities”, such as being a melody, and that these qualities could not be properties of mere sums, for example of sums of tones. A common, stronger claim is that the wholes we are aware of are themselves “Gestalten”, the parts of which are inseparable from each other and from the wholes they belong to. The Gestalt (...) psychologists took themselves to be opposing associationistic and atomistic assumptions in psychology. The notion of a Gestalt is applied primarily in their accounts of perception and to a much lesser extent in their accounts of feelings (Gefühle), aesthetic and non-aesthetic, of their objects, of our awareness of the feelings of others, of our attributions of emotions, of our grasp of value and of the relations between affective phenomena and perception. (shrink)

In the framework of Husserl's phenomenology, intentionality is regarded as the main feature of every act of consciousness. Our consciousness is directed towards objects immanent in it, however in a variety of epistemological functions and operations, such as sensory perception, judgment, cognition, volition, imagination, etc. Husserl uses the technical terms noesis and noema to designate the intentional acts of consciousness and their outcome in the constitution of objects in consciousness. At the same time, the persistence of a hyletic data is (...) emphasized, which as pure sense data escapes the phenomenological reduction and remains as such a residuum in the consciousness. In my lecture I try to work out the clear implication of epistemological referentiality in the phenomenological basic notion of intentionality. Among other things, I rely on the conceptual history of intentionality, i. e. on the earlier theories of intentionality in the Middle Ages and the philosophical revival of this notion in the late 19th century by Franz Brentano. Referentiality defines itself as the referential access of consciousness to objects of sensory perception, judgment, cognition, etc., in which the objects form the final referents. In the phenomenological framework, intentionality refers to the intentional access of consciousness to objects irrespective of their consciousness-immanence or -transcendence. The analogy between intentionality and referentiality is therefore based on the act-character as well as the directionality of consciousness which suggests the characteristic attempt of consciousness to gain intentional-referential access to objects. The directionality of consciousness in every intentional act ultimately marks and confirms the referentiality i. e the referential access of consciousness to the object. Intentionality as intentional-referential access to objects becomes a problem, when the access of consciousness to the object proves to be inadequate. I try to show how this problem of referentiality inevitably arises in Husserl's phenomenology of inner time-consciousness, especially in his conception of a time-object (Zeitobjekt). The consciousness-immanence of a time-object, such as a melody, points to a problem, that the intertwining of the temporality of consciousness and that of time-object necessarily results in various aporias of time, as Paul Ricœur observes and discusses in detail in his seminal work Temps et Récit. Moreover, the residual persistence of hyletic data, that survives all phenomenological reductions, would establish an actual interface between consciousness and reality, as Jaakko Hintikka emphasizes in his essay The phenomenological dimension. The aporicity of time refers to the autonomy of time and, thereby, to the autonomy of time-object in its intentional in-existence in consciousness. The hyletic data as interface between consciousness and reality points to the necessary referential extension of consciousness to objects that are otherwise excluded in the context of phenomenology. From these and similar premises, I would like to demonstrate how the problem of referentiality in Husserl's philosophy of time inevitably presupposes a reversion of referentiality within the prevailing noesis-noema structure that underlies the consciousness-immanence of objects. (shrink)

The Punjabi Heritage Foundation of Canada proudly presents this trilingual publication to commemorate the 550 Birth Anniversary of Guru Nanak Dev Ji (1469-1539), the messenger of harmony and peace, an advocate of social justice and moral values, and promotor of women's rights as well as a preacher of Oneness of God and Oneness of Humankind. Set in the balance of transcendental melodious hymns of Gurbani and mystic music on the Rabab that had the profound power to touch the human soul, (...) Guru Nanak travelled on foot across the subcontinent of India, and into Central Asia to spread his message of love and equality of humankind, mutual respect, and universality of God. During his four Odysseys, he was accompanied by his two devoted and trustworthy companions, Bhai Bala and Bhai Mardana. The papers in this collection have been written by university professors and academic scholars from across the world to address Guru Nanak's principles of human and gender equality, the dignity of labour, love of the environment, non-violence, and the elimination of injustice, extremism, ritualism and intolerance. (shrink)

”Hvad er musik?” lyder et gammelt og godt spørgsmål, og svaret udformes i reglen som en redegørelse for, hvordan musik lyder. Med modernismen (Ligeti, Stockhausen, etc.). har vi imidlertid gjort den erfaring, at musikken kan forblive musik, selv når den er uden melodi, uden metrisk puls etc. Men hvis der ingen grænser er for, hvordan musik- ken kan lyde, kan vi heller ikke afgrænse – definere – musikken ved at henvise til, hvordan den lyder. Vi må, mener jeg, snarere tage (...) udgangspunkt i den særlige måde, vi sanseligt indstiller os på lyden – ”omgås” den – når vi hører den som musik. (shrink)

This book has been ably reviewed by others. I am taking a second look at it now on the occasion of the publication of its sequel, a review of which I also provide in this volume. I have had the distinct pleasure of being a student and colleague of Vasilis Politis (VP) since the initiation of the project that led to these monographs, and the great privilege of witnessing the development of the project for more than a decade. VP’s Plato (...) is in a way the only one I have known. When I hear the terms ‘aporia’, ‘whether-or-not’, and ‘ti esti’, they ring in my ears like bells. In this double review, I hope to impress upon the reader the unique importance of this interpretation of Plato, both for the history of philosophy and philosophy more broadly, and thereby to give a sense of its melody and resonance. (shrink)

Bhakti Saṃgraha or ‘Collection of Devotions’ composed by Ācārya Pūjyapāda (alias Ācārya Devanandī; circa 5th century CE) comprises a set of devotions (bhakti) in form of chaste and melodious Sanskrit hymns. Incidentally, the Most Worshipful Ācārya Kundakunda (circa 1st century BCE) had earlier composed his ‘Daśa Bhakti’ in Prākrit. The reading of devotions (bhakti) is essential to tread the difficult path to liberation. This great work by Ācārya Pūjyapāda is an essential reading for the ascetic (sādhu, muni) as well as (...) the householder (śrāvaka). It not only helps the soul acquire merit (puņya) but, more importantly, saves it from engaging in evil tendencies and pursuits. The devotions pertain, among others, to Lord Jina, the Supreme Beings, the Scripture, the Perfect Conduct, the sacred adobes of attainment of liberation of the Arhanta, and the Nandīśvara dvīpa. This collection includes ‘Śāntyaştaka’ (hymn in praise of the sixteenth Tīrthańkara, Lord Śāntinātha). (shrink)

The time of the Reverie. Memory and duration in Rousseau There are three modes adopted by the temporal succession to which we are subjected: succession of desires, succession of identities and succession of instants. But happiness is a permanent state; therefore, it is not a state that corresponds to man. We propose that succession is the horizon from which Rousseau thinks about the possibility of happiness that, being discontinuous and brief, can achieve a permanence that results from another experience of (...) time that we will call duration. Our hypothesis is: firstly, that this possibility is available thanks to memory given over daydream (rêverie); secondly, that this memory is a memory of love because love, like happiness, aspires to eternity. We examine the main feature of duration, that is: the past is preserved in the present without being confused with it, just as each past note of a melody is somehow preserved in the present one. Past times are never lost times. We consider two discoveries by Rousseau, the sensitive memory and the memorious imagination, to show the interplay between memory and personal identity. Finally, we venture a comparison with the duration according to Bergson through the metaphor of a symphony and we confront this memory in love with the memory of pain inaugurated by Nietzsche in his Genealogy of Morality. -/- El tiempo del ensueño. Memoria y duración en Rousseau Tres son los modos que toma la sucesión temporal a la que estamos sometidos: sucesión de deseos, de identidades y de instantes. Pero la felicidad es un estado permanente, luego, ella no es un estado que corresponda al hombre. Proponemos que la sucesión es el horizonte desde el cual Rousseau piensa la posibilidad de una felicidad que, siendo discontinua y breve, pueda alcanzar una permanencia que resulta de otra experiencia del tiempo que nombraremos duración. Nuestra tesis es: primero, dicha posibilidad está abierta gracias a la memoria librada al ejercicio del ensueño; segundo, esa memoria es una memoria enamorada porque el amor, como la felicidad, aspira eternidad. Examinamos el rasgo principal de la duración, este es: el pasado se conserva en el presente sin confundirse con él tal como sucede cada una de las notas de una melodía. El tiempo pasado nunca es un tiempo perdido. Nos detenemos en dos descubrimientos de Rousseau, el de una memoria sensitiva y una imaginación memoriosa para mostrar la articulación entre memoria e identidad personal. Finalmente, arriesgamos la comparación con la duración según Bergson através de metáfora de la sinfonía y confrontamos esta memoria enamorada con la memoria del dolor que inaugura Nietzsche en la Genealogía de la moral. (shrink)

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. -/- Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating (...) the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music. (shrink)

The present study originates from an ongoing research on the potential of human voice and on the possibilities of intervention afforded by the Tomatis method for the development of such potential. The discussion on vocal sonority is framed within the horizon of linguistic geography. In particular, the essay revisits Tomatis’ theory of languages in the light of more recent studies on the close relationship between linguistic background and melodic-intonation profile. The essay highlights the results of experimental research based on the (...) comparison of languages, studies which show that, with respect to intonation, every language puts different interpretative strategies into effect. These studies appear to be confirming the importance of Tomatis’ intuitions on factors which might determine varying expressive strategies between languages. (shrink)