Results for 'Photography, Music, Darkness, Silence'

981 found
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  1. Photography and Music: Ansel Adams meets Cage, Richter and Richards.Mikael Pettersson - 2024 - Debates in Aesthetics 18 (2):83–98.
    Ansel Adams pointed to an analogy between photography and music, in particular to similarities between, on the one hand, negatives and prints in photography, and, on the other hand, scores and performances in classical music. Dawn M. Wilson uses her ‘multi-stage view’ of photography to (among other things) make the analogy more precise. She also invites others to expand on the analogy. In this piece I do so by, first, discussing darkness in photography and silence in music; and, second, (...)
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  2.  48
    Music, Visualization and the Multi-Stage Account of Photography.Dawn M. Wilson - 2024 - Debates in Aesthetics 18 (2):13-46.
    Like his contemporary, Edward Weston, Ansel Adams claimed that visualization is essential for creating fine art photography. But, unlike Weston, he believed that a print from a negative is like a performance from a score. In his analogy, a photographer’s visualization is like a musician’s composition: once it has been set down in a ‘score’, it can be expressively rendered by different performers, making it possible to create and critically appreciate ‘performances’ with different qualities. I argue that this music-photography analogy (...)
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  3. The Silence: Non-Discursive Agency in Photography.Gavin Keeney - manuscript
    An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.
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  4. Music, Cage's Silence, and Art: An interview with Stephen Davies, PhD.Marcella Georgi & Stephen Davies - 2022 - Stance 15:120-142.
    Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), The Artful (...)
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  5. Music in narrative film. On motion and stasis : Photography, "moving pictures," music / David Neumeyer, Laura Neumeyer ; the topos of "evil medieval" in american horror film music / James deaville ; la leggenda Del pianista sull'oceano : Narration, music, and cinema / Rosa Stella cassotti ; music in Aki kaurismäki's film the match factory girl / Erkki pekkilä ; it's a little bit funny : Moulin rouge's sparkling postmodern critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, meaning and media. Helsinki: University of Helsinki.
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  6. Silence as a Christian Experience and Practice.Stephen R. Munzer - 2020 - Studia Monastica 62:253-274.
    Silence often plays a significant role in Christian experience and practice. However, the varieties of silence and the effects of silence for good and. bad merit examination. It is important to distinguish between physical, auditory, and metaphorical silence, and bet- ween experiencing silence as "quiet" and experiencing silence as keeping quiet . Silence can be an instrumental good as well as an expressive good, a concomitant good, or a constitutive good. Christian monks, theologians, (...)
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  7. Silence Perception and Spatial Content.Błażej Skrzypulec - 2022 - Australasian Journal of Philosophy 100 (3):524-538.
    It seems plausible that visual experiences of darkness have perceptual phenomenal content that clearly differentiates them from absences of visual experiences. I argue, relying on psychological results concerning auditory attention, that the analogous claim is true about auditory experiences of silence. More specifically, I propose that experiences of silence present empty spatial directions like ‘right’ or ‘left’, and so have egocentric spatial content. Furthermore, I claim that such content is genuinely auditory and phenomenal in the sense that one (...)
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  8. The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...)
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  9. The perception of silence.Rui Zhe Goh, Ian Phillips & Chaz Firestone - 2023 - Proceedings of the National Academy of Sciences 120 (29):e2301463120.
    Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question (...)
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  10. The gift of silence : towards an anthropology of jazz improvisation as neuroresistance.Martin E. Rosenberg - 2021 - In Alice Koubová & Petr Urban (eds.), Play and Democracy: Philosophical Perspectives. New York, NY: Routledge.
    Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing this (...)
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  11. Dark Cosmism: Or, the Apophatic Specter of Russo-Soviet Techno-utopianism.Taylor R. Genovese - 2023 - Dissertation, Arizona State University
    By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—throughout post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and other-than-human discourse exist as Weberian “elective affinities” within diverse ecologies of the imagination, transmitting a variety of philosophies and political programs throughout trans-temporal, yet philosophically bounded, communities. With a particular focus (...)
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  12. Claire Keegan’s Small Things Like These: Expressing truths in the silence between the words.Jytte Holmqvist - 2024 - Proceedings From Pausing Time/Timing the Pause: Sayability in the Arts, Philosophy, and Politics, the 4Th Interdisciplinary Ereignis Conference.
    According to Stanley Kubrick, “[i]f it can be written, or thought, it can be filmed”. This is true for award-winning Irish short story writer Claire Keegan (1968) whose sparse and effective prose has hit the core of audiences struggling to process the lingering impact of national trauma. Keegan confronts it all head-on, highlighting social issues that loom large in evocative narratives where thoughts, situations and scenarios spill over into the space between the words. What is left unsaid says it all. (...)
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  13. Vietnamese Audience Reception of Fairy Tale Music Videos - A Case Study of Hoàng Thùy Linh’s “See Tình”.Huynh Vinh Khang - 2024 - Constellations 1 (2):1-14.
    Since 2019, Vietnam has witnessed a "reincarnation movement" characterized by the creation of new cultural products infused with folklore, encompassing various mediums like photography, cinema, and music.
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  14. Organized Sound, Sounds Heard, and Silence.Douglas C. Wadle - 2023 - Ergo: An Open Access Journal of Philosophy 10.
    In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that one (...)
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  15. Man Ray and Photography as a Poetic Communication Technology.Rafael Duarte Oliveira Venancio & Marina Colli de Oliveira - 2015 - International Journal of Modern Communication Technologies and Research 3 (10).
    This article wants to analyze how Man Rayin his photographs, engages a poetry of silenceusing this medium as a poetic communication technology. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoricand the Treatise on the Visual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the (...)
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  16. Notes for a phenomenology of musical performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
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  17. Colour as a character-element that propitiates the plot within the short film "El Lado Oscuro de Los Colores" (The Dark Side of Colours).Mosquera Rodas Jhon Jairo, Moreno Mora Mónica María & Osorio Cruz Julio César - manuscript
    The Dark Side of Colors is a Pereirano short film made by director Mónica Moreno, in the framework of the investigation "The Color as a character within the audiovisual production: The Dark Side of Colors", whose end is to see the color as a leading element in the story and how it affects the psyche of the main character, called Franz, around the creation of an Altrego named Christopher, who see in the color, personalities and behaviors of people from The (...)
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  18. Was hat Musik im Film zu suchen?Andreas Dorschel - 2005 - In Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition. pp. 12-21.
    Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced (...)
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  19. Dossier Gaialight 2007-2011.Gavin Keeney - manuscript
    Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...)
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  20. Intimità sonore. Lineamenti di una prossemica sonora.Elia Gonnella - 2022 - de Musica 26 (1):32-80.
    How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...)
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  21. Understanding Aesthetics, Creativity and the Arts.Jay Friedenberg - 2020 - Amazon Direct.
    What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...)
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  22. Robinson Jeffers, 'The Double Axe'.James Lesher - manuscript
    Robinson Jeffers’ dark view of humankind is thought to owe much to Friedrich Nietzsche while his admiration for the beauty of nature has been compared to sentiments expressed by Lucretius in de rerum natura. In many respects, however, the philosopher who stands closest to Jeffers in both thought and personality is the ancient Greek thinker Heraclitus of Ephesus. Jeffers’ extended poem ‘The Double Axe’ makes no fewer than five clear references to Heraclitean ideas: (1) ‘Heraclitus’ Sibyl whose voice reached over (...)
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  23. In the Face of Death.James Cartlidge - 2023 - In John MacKinnon (ed.), Warren Zevon and Philosophy: Beyond Reptile Wisdom. Peru, IL: Carus Books. pp. 187-198.
    Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...)
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  24. A NIILIDADE E O ANONIMATO DE DEUS: O APOFATISMO DO MÍSTICO PSEUDO-DIONÍSIO, O AREOPAGITA.Lindomar Rocha Mota & Webert Cirilo Gonçalves - 2014 - Interações 9 (16):431-452.
    This article presented the apophatism of Pseudo-Dionysius the Areopagite, a mystical knowledge as refusing determine God as an objective concept and requires the abandonment of formulations that dare quit the Divine Mystery into categories. Therefore, it was necessary to discuss the principle, the difference between the apophaticism own ousia of Scholastic concludes that by reason of the impossibility of knowledge of the “substance” of the Absolute and the persona of the Areopagite concluded that, from personal a relationship and / existential (...)
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  25. Is the Post- in Postmodernism the Post- in Postcolonial?Kwame Anthony Appiah - 1991 - Critical Inquiry 17 (2):336-357.
    Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...)
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  26. Seeing One Another Anew with Godfrey Reggio's Visitors.Eran Guter & Inbal Guter - 2023 - In Craig Fox & Britt Harrison (eds.), Philosophy of Film Without Theory. Palgrave Macmillan.
    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 (...)
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  27. Is there a Poetics in Aristotle’s Politics?Thornton Lockwood - 2020 - In Pierre Destrée & Munteanu (eds.), The Poetics in its Aristotelian Context. Routledge. pp. 129-144.
    ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in (...)
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  28. Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy.Ben Woodard - 2011 - Continent 1 (1):3-13.
    continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...)
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  29. Scrutinizing the art of theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
    In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...)
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  30. Why art is never representation - even when it represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  31. A BRIEF OUTLINE OF THE POSSIBLE BASICS OF COSMOLOGY IN THE 22nd CENTURY, AND WHAT IT MEANS FOR RELIGION.Rodney Bartlett - manuscript
    This article’s conclusion is that the theories of Einstein are generally correct and will still be relevant in the next century (there will be modifications necessary for development of quantum gravity). Those Einsteinian theories are Special Relativity, General Relativity, and the title of a paper he published in 1919 which asked if gravitation plays a role in the composition of elementary particles of matter. This paper was the bridge between General Relativity and the Unified Field Theory he sought during the (...)
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  32. Maestro Eckhart: la divinità, l’umiltà e lo svuotamento come chiavi musicali della “partitura” eckhartiana.Roberto Pellegrini & Marcio Luiz Fernandes - 2023 - Studium: Revista de Teologia 13 (1):e00006.
    The work that follows concerns the theology, spirituality and mysticism of Master Eckhart. Without any pretense of exhausting it, which would require several volumes, we will try to illustrate its main features. Taking as reference the work of Eckhart The Sermons translated by Marco Vannini, one of the greatest Italian scholars of the Rhine Master, we will try to bring out to the reader’s intelligence the pathways to understanding and experiencing what Eckhart considers the essence of God. Three ways that (...)
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  33. A challenge to the extended mind hypothesis.Elaine McKenzie Jackson - 2018 - Dissertation, University of Glasgow
    The extended mind hypothesis (EMH) has been a major focus of debate since its publication in 1998, prompting interest from proponents and exponents alike. At the heart of the paper is the aim of understanding mental phenomena, specifically, what constitutes a mental state. To fully understand EMH it is crucial to appreciate the distinction between our mental states. Firstly, we have mental states that derive from our experiences, these are considered conscious states. They contain feelings or emotions, for example, falling (...)
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  34. The Biological Framework for a Mathematical Universe.Ronald Williams - unknown - Dissertation, Temple University
    The mathematical universe hypothesis is a theory that the physical universe is not merely described by mathematics, but is mathematics, specifically a mathematical structure. Our research provides evidence that the mathematical structure of the universe is biological in nature and all systems, processes, and objects within the universe function in harmony with biological patterns. Living organisms are the result of the universe’s biological pattern and are embedded within their physiology the patterns of this biological universe. Therefore physiological patterns in living (...)
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  35. The Politics of ImagesGeorges Didi-Huberman:Quand les images prennent position. L’Œil de l'histoire, I, 271 pp.Judith Butler:Frames of War. When Is Life Grievable?, 194 pp. [REVIEW]Nikolaj Lübecker - 2013 - Paragraph 36 (3):392-407.
    The last ten to fifteen years have seen the publication of numerous books and articles considering the relation between images and politics. The reasons for this development are obvious: footage of the World Trade Center attacks and photos from Abu Ghraib and Guantanamo (to give just a few examples) have clearly demonstrated that images not only respond to political events, but also play an important part in shaping them. Images have therefore been blamed for their complicity in these events (in (...)
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  36. Silencing and assertion.Alessandra Tanesini - 2018 - In Sanford Goldberg (ed.), The Oxford Handbook of Assertion. Oxford University Press. pp. 749-769.
    Theories of assertion must explain how silencing is possible. This chapter defends an account of assertion in terms of normative commitments on the grounds that it provides the most plausible analysis of how individuals might be silenced when attempting to make assertions. The chapter first offers an account of the nature of silencing and defends the view that it can occur even in contexts where speakers’ communicative intentions are understood by their audience. Second, it outlines some of the normative commitments (...)
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  37. Appreciative Silencing in Communicative Exchange.Abraham Tobi - 2024 - Episteme 21 (2).
    Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that happens (...)
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  38. The Dark Side of Morality – Neural Mechanisms Underpinning Moral Convictions and Support for Violence.Clifford I. Workman, Keith J. Yoder & Jean Decety - 2020 - American Journal of Bioethics Neuroscience 11 (4):269-284.
    People are motivated by shared social values that, when held with moral conviction, can serve as compelling mandates capable of facilitating support for ideological violence. The current study examined this dark side of morality by identifying specific cognitive and neural mechanisms associated with beliefs about the appropriateness of sociopolitical violence, and determining the extent to which the engagement of these mechanisms was predicted by moral convictions. Participants reported their moral convictions about a variety of sociopolitical issues prior to undergoing functional (...)
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  39. Dark Matters in Contemporary Astrophysics: A Case Study in Theory Choice and Evidential Reasoning.William L. Vanderburgh - 2001 - Dissertation, The University of Western Ontario (Canada)
    This dissertation examines the dynamical dark matter problem in twentieth century astrophysics from the point of view of History and Philosophy of Science. The dynamical dark matter problem describes the situation astronomers find themselves in with regard to the dynamics of large scale astrophysical systems such as galaxies and galaxy clusters: The observed motions are incompatible with the visible distribution matter given the accepted law of gravitation. This discrepancy has two classes of possible solutions: either there exists copious amounts of (...)
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  40. Philosophical Silences: Race, Gender, Disability, and Philosophical Practice.Robert A. Wilson - 2023 - Journal of Philosophy of Education 57 (4):1004-1024.
    Who is recognised as a philosopher and what counts as philosophy influence both the content of a philosophical education and academic philosophy’s continuing demographic skew. The “philosophical who” and the “philosophical what” themselves are a partial function of matters that have been passed over in collective silence, even if that now feels to some like a silence belonging to the distant past. This paper discusses some philosophical silences regarding race, gender, and disability in the context of reflection on (...)
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  41. Silencing without Convention.Elmar Unnsteinsson - 2019 - Pacific Philosophical Quarterly 100 (2):573-598.
    Silencing is usually explained in terms of conventionalism about the nature of speech acts. More recently, theorists have tried to develop intentionalist theories of the phenomenon. I argue, however, that if intentionalists are to accommodate the conventionalists' main insight, namely that silencing can be so extreme as to render certain types of speech act completely unavailable to victims, they must take two assumptions on board. First, it must be possible that speakers' communicative intentions are opaque to the speakers themselves. Secondly, (...)
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  42. Confronting Silences.Robert A. Wilson - 2023 - Tapuya: Latin American Science, Technology and Society 6 (1):1-5.
    This open-access editorial discusses confronting silences in different disciplinary contexts, such as science and technology studies, cultural anthropology, and philosophy. It has a focus on race and concludes with thoughts about Indigenous expertise, the Australian referendum on the Indigenous Voice, to parliament, and racism.
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  43.  84
    Dark Matter: Explanatory Unification and Historical Continuity.Simon Allzén - manuscript
    In recent years, the hope to confirm the existence of dark matter by experimentally detecting it has diminished significantly. After more than 30 years of experimental searches, many of the most promising candidates have since been ruled out, leaving the epistemic and scientific condition of dark matter in a state of suspension. In efforts to improve the epistemic justification for the dark-matter hypothesis, physicists have turned to philosophical arguments and historical narratives. In this paper, I explicate two such strategies -- (...)
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  44. Silencing Desires?Attila Tanyi - 2013 - Philosophia 41 (3):887-903.
    In an overlooked section of his influential book What We Owe to Each Other Thomas Scanlon advances an argument against the desire-model of practical reasoning. In Scanlon’s view the model gives a distorted picture of the structure of our practical thinking. His idea is that there is an alternative to the “weighing behavior” of reasons, a particular way in which reasons can relate to each other. This phenomenon, which the paper calls “silencing”, is not something that the desire-model can accommodate, (...)
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  45. Music as Affective Scaffolding.Joel Krueger - forthcoming - In Clarke David, Herbert Ruth & Clarke Eric (eds.), Music and Consciousness II. Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...)
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  46. Dark Matter Nature.Jaykov Foukzon - 2019 - Journal of Physics: Conference Series 1391 (1).
    The cosmological constant problem arises because the magnitude of vacuum energy density predicted by quantum eld theory is about 120 orders of magnitude larger than the value implied by cosmological observations of accelerating cosmic expansion. We pointed out that the fractal nature of the quantum space-time with negative Hausdor - Colombeau dimensions can resolve this tension. The canonical Quantum Field Theory is widely believed to break down at some fundamental high-energy cuto  and therefore the quantum uctuations in the vacuum (...)
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  47. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...)
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  48. Silencing, Epistemic Injustice, and Epistemic Paternalism.Jonathan Matheson & Valerie Joly Chock - 2020 - In Amiel Bernal & Guy Axtell (eds.), Epistemic Paternalism Reconsidered: Conceptions, Justifications and Implications. Lanham, Md: Rowman & LIttlefield.
    Members of oppressed groups are often silenced. One form of silencing is what Kristie Dotson calls “testimonial smothering”. Testimonial smothering occurs when a speaker limits her testimony in virtue of the reasonable risk of it being misunderstood or misapplied by the audience. Testimonial smothering is thus a form of epistemic paternalism since the speaker is interfering with the audience’s inquiry for their benefit without first consulting them. In this paper, we explore the connections between epistemic injustice and epistemic paternalism through (...)
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  49. Perlocutionary Silencing: A Linguistic Harm That Prevents Discursive Influence.David C. Spewak Jr - 2023 - Hypatia 38 (1):86-104.
    Various philosophers discuss perlocutionary silencing, but none defend an account of perlocutionary silencing. This gap may exist because perlocutionary success depends on extralinguistic effects, whereas silencing interrupts speech, leaving theorists to rely on extemporary accounts when they discuss perlocutionary silencing. Consequently, scholars assume perlocutionary silencing occurs but neglect to explain how perlocutionary silencing harms speakers as speakers. In relation to that shortcoming, I defend a novel account of perlocutionary silencing. I argue that speakers experience perlocutionary silencing when they are illegitimately (...)
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  50.  66
    Silence: Freedom or Crime?Steven James Bartlett - 1986 - Leviathan: Proceedings of the Society for Social and Political Philosophy, 1979-1981 1986:99-106.
    In this paper, the author attempts to make explicit certain of the key variables that underlie the wide variety of positions which have been offered in answer to the question posed by the title of the paper. Several positions are reviewed briefly, ranging from Bertrand Russell’s to Jasper’s to Milton Meyer’s to Thoreau’s. These are then considered as a group in terms of possible systems of values which traditionally have formed the basis for condemnations or defenses of political and social (...)
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