ROGER SCRUTON’s An Intelligent Person’s Guide to Philosophy takes a personal and provocative look at the subject—those abstract, but nevertheless practical, problems that concern anyone who has reflected on his or her life. Of special delight is his discussion of sex and music. I make some brief critical comments on this based on new economic approaches.

Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through performance.

In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent pop music. (...) The same argument could be adapted to other media: books beat films, card games beat first-person shooters, parables beat dissertations, etc. We leave it to the reader to decide whether this argument tells us something about classical music, something about Legg-Hutter intelligence, or something about both. (shrink)

Economic models describe individuals in terms of underlying characteristics, such as taste for some good, sympathy level for another player, time discount rate, risk attitude, and so on. In real life, such characteristics change through experiences: taste for Mozart changes through listening to it, sympathy for another player through observing his moves, and so on. Models typically ignore change, not just for simplicity but also because it is unclear how to incorporate change. I introduce a general axiomatic framework for (...) defining, analysing and comparing rival models of change. I show that seemingly basic postulates on modelling change together have strong implications, like irrelevance of the order in which someone has his experiences and ‘linearity’ of change. This is a step towards placing the modelling of change on solid axiomatic grounds and enabling non-arbitrary incorporation of change into economic models. (shrink)

Chiar de la inceputul acestui memoriu, mentionez ca am depus primul memoriu[ Primul memoriu se poate accesa pe researchgate sau philpapers. Am primit raspuns pe data de 05.04.2022. [ Dupa ce am citit raspunsul la Memoriu I, am avut impresia ca a fost un raport scris de un sef de la un CAP comunist (comuna Scornicesti, judetul Olt) impotriva unui profesor care indraznise sa creeze ceva care nu era trecut in planul socialist de promovare a comunei. Sa ne aducem aminte (...) de evenimentul din anii 1950’: un tractorist (patru clase) numit “primar” (sau “sef” de genul asta), de catre comunisti/rusi, a legat cu un lant de tractor “Coloana fara sfarsit” a lui Brancusi si a incercat sa o doboare. Tractorul s-a rasturnat, nu “Coloana”! Numele tractoristului nu a ramas in istorie, nici macar precum cel al lui Salieri care i-a furat “Requiem” lui Mozart (ultima lui compozitie, atunci cand era deja pe patul de moarte)...]. (shrink)

The discussion in this paper begins with some observations regarding a number of structural similarities between art and morality as it involves human agency. On the basis of these observations we may ask whether or not incompatibilist worries about free will are relevant to both art and morality. One approach is to claim that libertarian free will is essential to our evaluations of merit and desert in both spheres. An alternative approach, is to claim that free will is required only (...) in the sphere of morality—and that to this extent the art/morality analogy breaks down. I argue that both these incompatibilist approaches encounter significant problems and difficulties—and that incompatibilist have paid insufficient attention to these issues. However, although the analogy between art and morality may be welcomed by compatibilists, it does not pave the way for an easy or facile optimism on this subject. On the contrary, while the art/morality analogy may lend support to compatibilism it also serves to show that some worries of incompatibilism relating to the role of luck in human life cannot be easily set aside, which denies compatibilism any basis for complacent optimism on this subject. (shrink)

En este opúsculo dedicado a la estética, Brentano parte de sus puntos de vista sobre antropología y teoría del conocimiento para investigar el elemento distintivo de un ser humano genial. Aquello que convierte una obra de arte en una obra maestra, la genialidad, ¿está originado por una fuerza sobrehumana, una «inspiración», o bien es un rasgo de la psique del artista? Franz C. Brentano. 'La genialidad'. Introducción, traducción y notas de David Torrijos-Castrillejo. Serie opuscula philosophica 61. Madrid, Encuentro, 2016, ISBN: (...) 978-84-9055, 66 pp. Título original: 'Das Genie. Vortrag gehalten im Saale des Ingenieur- und Architektenvereins in Wien'. Leipzig, Duncker & Humblot, 1892. (shrink)

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)