This essay is a thorough critique of Regieoper and related contemporary modes of opera production that make radical deviations from the intended plot, setting, etc. of the work as conceived by its author(s).

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these (...) attributions. Here, I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Sora from Open AI has shown exceptional performance, yet it faces scrutiny over whether its technological prowess equates to an authentic comprehension of reality. Critics contend that it lacks a foundational grasp of the world, a deficiency V-JEPA from Meta aims to amend with its joint embedding approach. This debate is vital for steering the future direction of Artificial General Intelligence(AGI). We enrich this debate by developing a theory of productive imagination that generates a coherent world model based on Kantian (...) philosophy. We identify three indispensable components in the coherent world model that enable genuine world understanding: latent representations of isolated objects, an a priori law of change across space and time, and Kantian categories. Our analysis reveals that Sora is limited because of its oversight of the a priori law of change and Kantian categories, flaws that are not rectifiable through scaling up the training. V-JEPA learns the context-dependent aspect of the a priori law of change. Yet it fails to fully comprehend Kantian categories and incorporate experience, leading us to conclude that neither system currently achieves a comprehensive world understanding. Nevertheless, each system has developed components essential to advancing an integrated AI productive imagination-understanding engine. Finally, we propose an innovative training framework for an AI productive imagination-understanding engine, centered around a joint embedding system designed to transform disordered perceptual input into a structured, coherent world model. Our philosophical analysis pinpoints critical challenges within contemporary video AI technologies and a pathway toward achieving an AI system capable of genuine world understanding, such that it can be applied for reasoning and planning in the future. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Purpose. The creation ofan ergonomic methodical approach to the modernization of management processes of metallurgical production, which involves a human factor while developing and exploiting the difficult man-machine system and estimating the degree of implementation of ergonomic requirements at different stages of an operator’s activity planning. -/- Methodology. Ananalytical model of the organization of the research works devoted to the ergonomic modernization of man-machine systems was developed. Searching and purpose-oriented investigations at different stages of man-machine system development and exploitation were (...) modelled from the sketchy projection till the exploitation of the system. Theoretical, system analytical and experimental methods were used. -/- Findings.The results of ergonomic modernization of management processes of metallurgical production in two countries under new economic (market) conditions were discussed. The factors, which define the tension in rolling-mill operators’ activity, were exposed. Certain recommendations on modernization of the existing technology and labor organization were formulated. -/- Originality. The scientific novelty consists in the development and adaptation of the methodical approach that describes adequately the cognitive complexity and psychophysiological tension in an operator’s activity as the modernization factors of modern metallurgical production in two countries. -/- Practical value.The practical value involves the creation of an ergonomic management system of the development, exploitation and modernization of difficult men-machine systems and metallurgical production management processes. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...) its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of (...) his claim about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion (...) or calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (shrink)

Upon abolition of the sultanate, proclamation of the Republic, and termination of the seemingly existing caliphate position, the 1921 Constitution was replaced with the 1924 Constitution, which would remain in full force until 1961. It is observed that as a result of all such consecutive developments, the no. 677 Law on Preclusion and Abolition of Lodges, Zawiyahs, Tomb Keepers and Some Titles, which had been presented to the assembly with a bill prepared by Refik Koraltan, a member of the parliament (...) from Konya province, along with his friends, accepted in November 30th, 1925 and published in the official gazette in December 13th, 1925, interrupted, in general, the religious Turkish music; and in particular, the music of Mevleviyeh and Bektashism cults -lodge/dervish music- during the production stages, which has been determined to be directly connected with the following problems to be dealt with, and which will constitute the focus of our study. Therefore, our "Music Policies in Turkish Single-party Era: Religious Music Example" titled study, as mentioned above, has been the subject of the research concentrated around especially the no. 677 Law came into force in December 13th, 1925, accepted with a bill, within the scope of transitions paving the way for the proclamation of the republic, and legitimacy of various revolutions implemented, and it is important that the effects of the political mobility experienced in our country between 1923 and 1950 during the single-party era on our society, and the extent of such effects on the music life, in particular Turkish religious music education, culture and art in our country can be observed and evaluated. (shrink)

Palawan is a land of promise, and of paradox. On maps, it appears on the edge of the Philippines, isolated. Indeed, it is a kind of last frontier. Its population remained tiny for centuries, the government offering homestead land in the 1950s practically for free to attract migrants from outside. The Palawan State University was established by law in 1965, but did not become operational until 1972. A commercial airport did not exist until the 1980s, and for many years, flights (...) were limited. Yet Palawan is one of the oldest sites of human habitation in the Philippines with the famous Tabon Cave human fossils. The oldest bone fragment here has been dated to be about 47,000 years. We know, too, that trade with China goes back several centuries. Today, Palawan seems to be making up for lost time with new commercial investments pouring in at breakneck speed. In particular, outsiders have rediscovered its potentials around logging, mining, fisheries, and tourism. This has caused concern among individuals and civil society organizations who want sustainable development, and see the commercial developments mainly as extractive, not just of natural resources but of the human. There’s very cheap labor available. And when potential investors marvel about cheap land, they’re actually talking about displacing earlier settlers, including indigenous people, from their lands. A subtle but still insidious aspect of the exploitation of human resources is a transformation of the very concept of human development. Using the rhetoric of modernity, residents in Palawan are reorienting the way they view themselves as well as their families and friends. The value of a human being now hinges on how they look, and the desired appearance is defined from the outside, as we see in this anthology of research reports coming from the Chemical Youth project of the University of Amsterdam and the University of the Philippines Diliman. We read about the importance of fair skin as a projection of cleanliness, of high social status (meaning someone not engaged in manual labor and therefore not exposed to the sun). We read of how “femininity” is defined around body contours, and cosmetics, and how hormones are used by male-to-female transgenders. We go beyond the visual, reading about the importance of controlling or enhancing body odors among tour guides, who interestingly are especially concerned about the bad odor management of their foreign customers, using car perfumes to keep their work manageable and we learn how difficult it is for security guards to stay alert during their long shifts. Energy drinks and cigarettes help them perform their duties. All these transformations through what the French philosopher and historian Michel Foucault has called “technologies of the self” are as paradoxical as Palawan. On the surface, the products—which are technologies—seem to be mainly in the realm of the self but are, in reality, pushed, through marketing, from the outside, in contexts of inequality and exploitative labour relations. Personal aspirations are not personal but are for predefined standards of modernity, related to work-related demands and expectations. The self must be made presentable to the tourist, to the customers in malls, and to those who may threaten the properties that young people protect. It is not surprising that these transformations become problematic for the “self.” The skin whiteners, the hormones, the body deodorants, and the energy drinks are expensive and can distort budgetary priorities. The money for tonic drinks, for example, could well go into more nutritious food. The tragedy, too, many of the products used are of doubtful safety and efficacy. Even the energy drinks have much too high levels of caffeine that can cause cardiac palpitations. Cosmetics and the skin whiteners imported from China and unregistered with the Food and Drug Administration may contain toxic chemicals like mercury. But even registered skin whiteners can be problematic, their so-called “skin-whitening effect” coming about because they take away the upper layers of the skin, leaving behind a red glow (seen as “whitening”) which is actually inflammation. The whitened skin fails to protect against the sun, leading to adverse effects such as black spots. Ultimately though, the problems come with the very definition of the self. As the reports show, young people use the chemicals with some ambivalence, knowing how expensive they are and experiencing some of the undesirable side effects. There is, too, doubt about whether what they’re doing is indeed “good,” captured by how IP women will put on cosmetics only when they’re away from home and about to go to work. The cosmetics have to be removed before they return home because they are not socially acceptable. The research reports are not for Palawan alone. It must make us more critical and discerning as we revisit concepts of development and exploitation, modernity and tradition, self and community. The chemicals, in many ways, are like the products used in precolonial barter trade. For the Chinese, the beeswax and the sea cucumbers, for the inhabitants of Palawan the ceramics, represented faraway lands. To have those products gave prestige. Today, the skin whiteners and tonic drinks and other chemicals described in this anthology represent modernity with promises of not just of a more attractive self, but of better jobs, a better life. We are proud to have worked with the Palawan State University, and the people of Palawan, to gather powerful narratives that will now challenge the outside, the purveyors of modernity, to be more critical and discerning, the chemicals now to be seen not just as stuff applied to the biological body, but as powerful shapers of social bodies. (shrink)

Products made from animal fur and skin have been a major part of human civilization. However, in modern society, the unsustainable consumption of these products – often considered luxury goods – has many negative environmental impacts. This study explores how people’s perceptions of biodiversity affect their attitudes and behaviors toward consumption. To investigate the information process deeper, we add the moderation of beliefs about biodiversity loss. Following the Bayesian Mindsponge Framework (BMF) analytics, we use mindsponge-based reasoning for constructing conceptual (...) models and employ Bayesian analysis aided by Markov Chain Monte Carlo (MCMC) algorithms on a dataset of 535 Vietnamese urban residents. The results show that people’s preference for using products made from animal skin/fur is negatively associated with perceived consequences of biodiversity loss when they believe biodiversity loss is real and a major problem. In contrast, if urban residents believe biodiversity loss is unreal or not a significant issue, the association between perceived consequences of biodiversity loss and personal preference happens in the opposite direction. The same effects of biodiversity loss perception on people’s possession of skin/fur products was not found, indicating a more complex information process on behaviors compared to attitudes. Nevertheless, in the scenario that people believe biodiversity loss is not a significant issue, the higher the perceived consequences of biodiversity loss are, the greater number of animal-based products they likely own. Our results suggest that policymakers should not neglect the factor of personal belief besides knowledge and awareness in environmental campaigns. (shrink)

The domination of the Christian faith during the middle ages created a new vista for theatre, drama and music to flourish. The Bible which is a documented proves, ideals and authenticity of the Christian faith has not only served as a spiritual dictionary of the Christian faith, theologians and historians but a critical source for musicologists, playwrights and directors. This study is a critical analysis of dramatic and musical dimensions in the parables of the God Samaritan and the (...) Richman and Lazarus. In doing this analysis, the study utilizes the literary and content analysis methods of qualitative approach of research. The major findings in this research is that the parables of Jesus Christ as documented in the Bible are critical sources that are highly theatrical, musical and dramatic in content and form, its dramatic and musical dimensions are highly pedagogical, entertaining and very enlightening for contemporary Nigerian audience. It therefore recommends that Nigerian playwrights, musicologists and directors should document, interpret and score these parables and other stories in the Bible as play-text, musicals for easy comprehension. Directors and musicologist are also encouraged to promote evangelical theatre by dramatizing these stories in order to promote the Christian faith and champion sustainable development in Nigeria. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's (...) book before sketching four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

Products made from animal fur and skin have been a major part of human civilization. However, in modern society, the unsustainable consumption of these products – often considered luxury goods – has many negative environmental impacts. This study explores how people’s perceptions of biodiversity affect their attitudes and behaviors toward consumption. To investigate the information process deeper, we add the moderation of beliefs about biodiversity loss. Following the Bayesian Mindsponge Framework (BMF) analytics, we use mindsponge-based reasoning for constructing conceptual (...) models and employ Bayesian analysis aided by Markov Chain Monte Carlo (MCMC) algorithms on a dataset of 535 Vietnamese urban residents. The results show that people’s preference for using products made from animal skin/fur is negatively associated with perceived consequences of biodiversity loss when they believe biodiversity loss is real and a major problem. In contrast, if urban residents believe biodiversity loss is unreal or not a significant issue, the association between perceived consequences of biodiversity loss and personal preference happens in the opposite direction. The same effects of biodiversity loss perception on people’s possession of skin/fur products was not found, indicating a more complex information process on behaviors compared to attitudes. Nevertheless, in the scenario that people believe biodiversity loss is not a significant issue, the higher the perceived consequences of biodiversity loss are, the greater number of animal-based products they likely own. Our results suggest that policymakers should not neglect the factor of personal belief besides knowledge and awareness in environmental campaigns. (shrink)

This paper is about the modern-day problem of human alienation and fulfillment in work from the perspective of the Catholic social thought. It analyses the symptoms and causes of work alienation, the meaning of work and its significance in the individual’s quest for fulfillment, and how the Catholic social teachings can shed light on the problems involved in transforming the world of work. Alienation in work affects one’s subjective and psychological fulfillment, but it is not ultimately dependent on material (...) culture or economic models. The problem of alienation in work cannot be dealt with by simply modifying the production process or the wage system, although these are factors that alienate people even more. Social problems cannot be solved without light of faith and the recognition of the moral order that is rooted in God. In the final analysis, alienation is not simply the loss of meaning in human activities. It is the loss of life’s meaning and man’s estrangement from his own authentic nature, including his reason for being and final end, that results from the rejection of God and His teachings. What Catholicism provides is a combination of economic, psychological, moral, social, and spiritual motives for work that will make it personally fulfilling. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does (...) his integral symphonic work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

Using Foucault’s concept of governmentality vis-à-vis Appadurai’s “global ethnoscapes” as frames, I argue for a techno-cultural dimension which brought forth the phenomenon of the “dancing inmates,” an argument against the charge of Filipino colonial mimicry of a Hollywood popular entertainment. Albeit the inmates’ dance routines indeed depict Foucault’s “docile bodies” in his analysis of the modern prison, as pointed out by critics, I am inclined to show how the internet mediation through social media networks awakened a culturally imbibed dance (...) and musical character trait vis-à-vis the jolly cultural disposition of Filipinos. Thus, I view these characteristics as existential responses, hence, ‘creative resilience,’ to the inhuman incarcerating conditions of the prison life through using the art of dance with the aid of media technology. I argue on the role of the internet as the prisoners’ avenue to the outside world that was strategically deprived of them as a form of punishment, and the role of the internet as their last frontier to freedom and to realize their human potentials. (shrink)

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). (...) The naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected. Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms). (shrink)

Opera dilettantes will forever argue over the relative importance of words and music in the creation and performance of their beloved art form. For philosophers brave enough to enter the fray, the issue raises a number of interesting ontological and phenomenological questions. In what does the work of opera primarily exist? What is distinctive of opera as a mode of dramatic presentation?

I argue that our direct experience and some physical facts do not go well with an understanding of perception as a mechanism producing a representation of a ''truly'' outer world. Instead, it is much more coherent to treat what is traditionally considered an image in this context as a closed structure equipped in its own ontology, replacing the ''truly'' outer one from the point of view of an agent possessing it. In such a framework, the notion of existence is taken (...) to be defined by consciousness in a way similar to qualia, making it subjective on the one hand, and reducing it to a tool on the other. This implies, in turn, that we need a form of mind-brain dualism; the best we can do in such circumstances about explaining consciousness as an epistemic device - a role intuitively imposing itself in a variety of situations - is to embed it in an abstract ontology merely serving the purpose of a ''true'' reality with the help of the mind-brain link. Obviously, the approach favors subjectivity as a foundation in the ontological sense. Objectivity is considered here only as a suitably understood product from an ''observer's'' point of view, although a functional and useful one. The paper is addressed to readers with interest in both the mind-body problem and ontological foundations of present-day physics, specifically quantum theory. The main conclusion can be absorbed without the quantum part, although it is a bit less convincing then. (shrink)

The aims of this paper are to: (1) identify the best framework for comprehending multidimensional impact of deep brain stimulation on the self; (2) identify weaknesses of this framework; (3) propose refinements to it; (4) in pursuing (3), show why and how this framework should be extended with additional moral aspects and demonstrate their interrelations; (5) define how moral aspects relate to the framework; (6) show the potential consequences of including moral aspects on evaluating DBS’s impact on patients’ selves. Regarding (...) (1), I argue that the pattern theory of self can be regarded as such a framework. In realizing (2) and (3), I indicate that most relevant issues concerning PTS that require resolutions are ontological issues, including the persistence question, the “specificity problem”, and finding lacking relevant aspects of the self. In realizing (4), I identify aspects of the self not included in PTS which are desperately needed to investigate the full range of potentially relevant DBS-induced changes—authenticity, autonomy, and responsibility, and conclude that how we define authenticity will have implications for our concept of autonomy, which in turn will determine how we think about responsibility. Concerning (5), I discuss a complex relation between moral aspects and PTS—on one hand, they serve as the lens through which a particular self-pattern can be evaluated; on the other, they are, themselves, products of dynamical interactions of various self-aspects. Finally, I discuss (6), demonstrating novel way of understanding the effects of DBS on patients’ selves. (shrink)

Heidegger and Sartre developed the projects of their fundamental ontologies within the framework of the phenomenological approach. The traditional view of reality is based on dualistic oppositions of ideal and material, spirit and body, reality and possibility, and visibility and essence. It is phenomenology that enables elimination of the above-mentioned dualisms and restoration of the world’s ontological unity on a reliable foundation. Though Sartre’s existentialism was exposed to criticism both from right, and from the left intellectuals, and is not a (...) “fashionable” current at present, and the fundamental ontology of Heidegger was estimated by Levinas as ontology of the power subject-centred line, nevertheless the author considers that attention which is paid in these concepts to such phenomena as the voice of conscience, care and freedom represents the most urgent philosophical value nowadays; the author in this regard points to insufficient validity of modern criticism of approaches of Heidegger and Sartre, in particular–reproaches in a subject-centred line from adherents of “ontology of the Other”. (shrink)

The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European (...) music and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (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)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude (...) that Wittgenstein's distinction between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

In his text, “The Question Concerning Technology”, Heidegger argues that modern mind is unaware of Being’s self-destining which determines Dasein’s relation to their own essence and that of other beings because it is in a delusion of being an ‘efficient cause’. A bluntness of this kind not only endangers human-freedom but also puts natural entities at the risk of losing their authenticity since the modern mode of production regards nature as a reserve that is constantly in the (...) service of human-doings. Accordingly, the discussion carried out in this article is, despite his criticism of the conception of ‘agency’ underlying western metaphysics, whether or not Heidegger overcomes the problem of anthropocentrism in his own philosophy. (shrink)

The Impossibility of Poetry Adorno's aesthetic theory bears the profound scars of his personal experience of fascism. Even after Auschwitz, he feared that modern bourgeois society is a breeding ground for new forms of fascist terror. It was said that, after Auschwitz, one could no longer write poems. But Adorno insisted that postwar art is an indispensable means for telling the truth about how the social order was fundamentally changed by that catastrophe.1 Not to tell the truth is to (...) be guilty of complicitous silence; yet, the unbearable truth is that society is pervasively and radically evil. As long as…. (shrink)

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve (...) to unify and potentially comprehensively explain these difficult cases. (shrink)

In hyper-modern society, food has become a source of endemic discontent. Many food products are seen as ‘tainted’; literally, figuratively or both. A psychoanalytic approach, I will argue, may help us to come to terms with our alimentary predicaments. What I envision is a ‘depth ethics’ focusing on some of the latent tensions, conflicts and ambiguities at work in the current food debate. First, I will outline some promising leads provided by two prominent psychoanalytic authors, namely Sigmund Freud and (...) Jacques Lacan. Subsequently, I will elucidate why our chronic dependency on high-tech food production apparently fails to meet consumer needs, focusing on some scenarios of escape, such as anorexia, cultured meat and ersatz food. And I will use ‘genres of the imagination’ to flesh out how food consumption has become a podium for enacting cultural symptoms, moral outcries, provocative identities and practices of the Self. Notably, I will discuss a story by Franz Kafka, a painting by Pablo Picasso and a food novel by Margaret Atwood. (shrink)

The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of (...) historical reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the (...) citation tendencies present within scholarship on both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

Mounting empirical evidence underscores the health benefits of the arts, as recently reported in a scoping review by the World Health Organization. The creative arts in particular are acknowledged to be a public health resource that can be beneficial for well-being and health. Within this broad context, and as a subfield of participatory arts, the term social arts (SA) specifically refers to an art made by socially engaged professionals (e.g., artists, creative arts therapists, social workers, etc.) with non-professionals who determine (...) together the content and the final art product (in theater, visual arts, music, literature, etc.) with the aim to produce meaningful social changes. SA can enhance individual, community, and public health in times of sociopolitical instability and is an active field in Israel. However, SA is still an under-investigated field of study worldwide that is hard to characterize, typify, or evaluate. This paper presents a research protocol designed to examine a tripartite empirically-based model of SA that will cover a wide range of SA training programs, implementations, and impacts. The findings will help refine the definition of SA and inform practitioners, trainers, and researchers, as well as funding bodies and policymakers, on the content and impact of SA projects in Israel and beyond. (shrink)

Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through (...) the imitation of another. In Hegel’s writings, this paradox goes beyond the relation of the modern world to the ancient world—he exposes the same paradox in ancient Greece’s relation to its own predecessors. The solution to the latter paradox—the possibility of the realization of ancient Greece as an original and self-contained civilization despite its cultural debts—would also, then, be the key to repeating the success of the ancient world in the modern, the overcoming of modern Europe’s cultural debt to the ancient world. The present essay examines how this paradox is revealed and resolved in the writings of Winckelmann and Hegel, and shows how this strategy of culture production—as imputed to the ancient world and aspired to in the modern—simultaneously attempts to justify and conceal a self-deceptive practice of cultural and political conquest. My focus will be on the two writers’ interpretations of ancient Greek art since, as I will suggest, their solution to the paradox of culture production turns out to be modeled upon the role of ancient Greek art in the invention and actualization of a cultural ideal of beauty, unity, and self-containment. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic (...) testimony seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

This article critically examines one of the most prevalent metaphors in modern biology, namely the machine conception of the organism (MCO). Although the fundamental differences between organisms and machines make the MCO an inadequate metaphor for conceptualizing living systems, many biologists and philosophers continue to draw upon the MCO or tacitly accept it as the standard model of the organism. This paper analyses the specific difficulties that arise when the MCO is invoked in the study of development and evolution. (...) In developmental biology the MCO underlies a logically incoherent model of ontogeny, the genetic program, which serves to legitimate three problematic theses about development: genetic animism, neo-preformationism, and developmental computability. In evolutionary biology the MCO is responsible for grounding unwarranted theoretical appeals to the concept of design as well as to the interpretation of natural selection as an engineer, which promote a distorted understanding of the process and products of evolutionary change. Overall, it is argued that, despite its heuristic value, the MCO today is impeding rather than enabling further progress in our comprehension of living systems. (shrink)

There has been a growing interest in research concerning memory modification technologies (MMTs) in recent years. Neuroscientists and psychologists are beginning to explore the prospect of controllable and intentional modification of human memory. One of the technologies with the greatest potential to this end is optogenetics—an invasive neuromodulation technique involving the use of light to control the activity of individual brain cells. It has recently shown the potential to modify specific long-term memories in animal models in ways not yet possible (...) with other MMTs. As the therapeutic potential of optogenetics has already prompted approval of the first human trials, it is especially important and timely to consider the opportunities and dangers this technology may entail. In this article, we focus on possible consequences of optogenetics as an MMT by analyzing fundamental threats potentially associated with memory modifications: the potential disruption of personality and authenticity. (shrink)

In modern Anglo-European philosophy there is a distinct progression from the metaphysical realism of ancient and classical philosophy towards a type of scepticism that eventually leads towards nihilism. Interestingly this progression also appears in the doctrines of the Classical schools of Indian Buddhism that pre-date modern European philosophy by well over six centuries. This progression stems from the application of the same types of logical and philosophical reasoning to the problems of metaphysics. The movement from metaphysical realism to (...) representationalism to idealism and finally towards nihilism, which is seen within both the classical Indian Buddhist tradition and Modern Anglo-European philosophy, are products of a coherent and wholly logical progression from the acceptance of certain metaphysical principles. The fact that these same movements occur in two philosophical traditions that are separated by vast chasms in space, time and culture seems to point to an underlying commonality underlying human philosophical enquiry, whether this is a result of a common intelligible reality, an essential and universal human nature or both is a philosophical question we must continue to pursue. (shrink)

Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece (...) of modern aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel Sömmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes Müller, who invented the concept of "sense energies"; and Müller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von Békésy; political activist and philosopher Günther Anders; and Martin Heidegger. (shrink)

Search in an environment with an uncertain distribution of resources involves a trade-off between exploitation of past discoveries and further exploration. This extends to information foraging, where a knowledge-seeker shifts between reading in depth and studying new domains. To study this decision-making process, we examine the reading choices made by one of the most celebrated scientists of the modern era: Charles Darwin. From the full-text of books listed in his chronologically-organized reading journals, we generate topic models to quantify his (...) local (text-to-text) and global (text-to-past) reading decisions using Kullback-Liebler Divergence, a cognitively-validated, information-theoretic measure of relative surprise. Rather than a pattern of surprise-minimization, corresponding to a pure exploitation strategy, Darwin’s behavior shifts from early exploitation to later exploration, seeking unusually high levels of cognitive surprise relative to previous eras. These shifts, detected by an unsupervised Bayesian model, correlate with major intellectual epochs of his career as identified both by qualitative scholarship and Darwin’s own self-commentary. Our methods allow us to compare his consumption of texts with their publication order. We find Darwin’s consumption more exploratory than the culture’s production, suggesting that underneath gradual societal changes are the explorations of individual synthesis and discovery. Our quantitative methods advance the study of cognitive search through a framework for testing interactions between individual and collective behavior and between short- and long-term consumption choices. This novel application of topic modeling to characterize individual reading complements widespread studies of collective scientific behavior. (shrink)

An examination of two recent documents of Catholic Social Doctrine, Caritas in Veritate and Vocation of the Business Leader, is undertaken to uncover their assessment of our current cultural and moral crisis, of which our present economic distress is but one aspect, and their proposal for cultural renewal including a return to sound economic decision making. The intellectual commitments of molders of the modern mind such as Bacon, Descartes, and Hobbes severed morality at its metaphysical roots. Destroying the anthropological (...) underpinnings of ethics catapults the contemporary world into a state of nihilism. In such a condition economic disorder is inevitable. The human person is crushed in a regime that searches for more relentlessly. The demand for metaphysical and moral reconstruction is met by Pope Benedict XVI with his insistence on receptivity to what is. Contemplation of an ultimate reality given to us takes us to the Person of Jesus Christ. The Christian faith is the context of authentic integral human development. Being made in the image of God gives every human person an inviolable dignity and makes every person subject to transcendent moral norms. A truth-filled love informs the conduct of enterprise. Goods that are truly goods and services that truly serve are produced or supplied. Promotional efforts are conducive to the pursuit of wisdom. People are given meaningful work that utilizes and develops their higher faculties and are let in on the financial success of the venture. The environment is respected as a home place ought to be. The Christian business leader can have a transformative effect on the business world through the power of grace. (shrink)

This study conducts an epistemological and contextual discourse analysis of the idea of knowledge in the philosophy of the 20th century. The main key stones of this work are as follows: the identification of the essential characteristics indicating the ontological genesis of the existing crisis of epistemological and ethical foundations; consideration of the main distinctive features of knowledge interpretation in epistemology and contextualism as a possible knowledge production instrument; study of the possibility of restoring an integral picture of the world (...) based on phenomenological ontologies; study of possibilities in the language domain from a hermeneutical point of view in the light of the resolution of epistemological contradictions. For all people interested in modern philosophy. (shrink)

Logic has pride of place in mathematics and its 20th century offshoot, computer science. Modern symbolic logic was developed, in part, as a way to provide a formal framework for mathematics: Frege, Peano, Whitehead and Russell, as well as Hilbert developed systems of logic to formalize mathematics. These systems were meant to serve either as themselves foundational, or at least as formal analogs of mathematical reasoning amenable to mathematical study, e.g., in Hilbert’s consistency program. Similar efforts continue, but have (...) been expanded by the development of sophisticated methods to study the properties of such systems using proof and model theory. In parallel with this evolution of logical formalisms as tools for articulating mathematical theories (broadly speaking), much progress has been made in the quest for a mechanization of logical inference and the investigation of its theoretical limits, culminating recently in the development of new foundational frameworks for mathematics with sophisticated computer-assisted proof systems. In addition, logical formalisms developed by logicians in mathematical and philosophical contexts have proved immensely useful in describing theories and systems of interest to computer scientists, and to some degree, vice versa. Three examples of the influence of logic in computer science are automated reasoning, computer verification, and type systems for programming languages. (shrink)

This paper argues for a revised concept of authenticity entailing two demands that must be balanced. The first demand moves authenticity from the position of a strictly self-regarding virtue towards the position of a fully social virtue, acknowledging the crucial feature of steadiness, i.e. self-consistency, as being precisely what we ‘naturally’ lack. Nevertheless, the value of personal authenticity in a modern, open society comes from the fact that it brings about not only steadiness, but also the (...) public development of a variety of existential options that can be understood as Millian ‘original experiments in living’. Thus the second demand of authenticity is a demand for ‘experimental’ authenticity which covers the whole spectrum of technologies of the self, from Nietzschean ‘brief habits’, to the use of enhancement technologies. (shrink)

Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like (...) a film, or a novel - only this time using different media. Modern artworks are like lobby cards and film stills to imaginative worlds, and they should not be seen as aesthetic ends-in-themselves. And for an artwork to be authentically artistic, as opposed to merely crafted, it must invoke a ‘strange and disturbing’ imaginative world, not a variant of the world we currently inhabit, as that world is the world of crafted and aesthetic objects. (shrink)

There has been a growing interest in research concerning memory modification technologies (MMTs) in recent years. Neuroscientists and psychologists are beginning to explore the prospect of controllable and intentional modification of human memory. One of the technologies with the greatest potential to this end is optogenetics—an invasive neuromodulation technique involving the use of light to control the activity of individual brain cells. It has recently shown the potential to modify specific long-term memories in animal models in ways not yet possible (...) with other MMTs. As the therapeutic potential of optogenetics has already prompted approval of the first human trials, it is especially important and timely to consider the opportunities and dangers this technology may entail. In this article, we focus on possible consequences of optogenetics as an MMT by analyzing fundamental threats potentially associated with memory modifications: the potential disruption of personality and authenticity. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical (...) acculturation, the perils of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

I contend that Adam Smith and David Hume offer re-interpretations of Aristotle’s notion of greatness of soul, focusing on the kind of magnanimity Aristotle attributes to Socrates. Someone with Socratic magnanimity is worthy of honor, responds moderately to fortune, and is virtuous—just and benevolent. Recent theorists err in claiming that magnanimity is less important to Hume’s account of human excellence than benevolence. In fact, benevolence is a necessary ingredient for the best sort of greatness. Smith’s “Letter to Strahan” attributes this (...) greatness to Hume. It encourages us to admire Hume as an exemplar of human excellence, to seek Hume’s virtues for ourselves, and to approve of the “love of literary fame” which Hume calls his “ruling passion.”. (shrink)

In the unfolding debate on the prospects, challenges and viability of the imminent transition towards a ‘Bio-Based Society’ or ‘Bio-based Economy’—i.e. the replacement of fossil fuels by biomass as a basic resource for the production of energy, materials and food, ‘big’ concepts tend to play an important role, such as, for instance, ‘sustainability’, ‘global justice’ and ‘naturalness’. The latter concept is, perhaps, the most challenging and intriguing one. In public debates concerning biotechnological interactions with the natural environment, the use of (...) terms such as ‘nature’ and ‘naturalness’ is both inevitable and hazardous . Indeed, various conflicting interpretations of naturalness play a role on both sides of the current debate. This paper aims to analyse and critically assess the role of ‘nature-speak’ in the BBS transition. We will begin with a concise overview of the vicissitudes of the nature-concept so far, focussing on how modern science and technology have challenged and affected our understanding of what nature is. Subsequently, we describe how ‘naturalness’ functions in the unfolding BBS debate. Finally, we will focus on a particular case study, namely the production of rubber with the help of natural latex coming from dandelion plants rather than from rubber trees. On the one hand, this is presented as a more natural and nature-friendly way of producing rubber. On the other hand, it is a sophisticated process, involving high technology and primarily focussed on competitiveness on the global market. To what extent or in what sense can dandelion latex be regarded as more natural? And what can we learn from this case study when it comes to addressing naturalness in the broader conceptual and bio-political arena? (shrink)