A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.

There have been times in the history of ethical theory, especially in this century, when moral realism was down, but it was never out. The appeal of this doctrine for many moral philosophers is apparently so strong that there are always supporters in its corner who seek to resuscitate the view. The attraction is obvious: moral realism purports to provide a precious philosophical good, viz., objectivity and all that this involves, including right answers to (most) moral questions, and the possibility (...) of knowing those answers. In the last decade, moral realism has re-entered the philosophical ring in powerful-looking naturalistic form. ln this paper we provide a dialectical overview: we situate the new wave position itself, and also our objections to it, in the context of the evolving program of philosophical naturalism in 20th century analytic philosophy. We seek to show that although this new contender might initially look like championship material, it succumbs to punches surprisingly similar to those that knocked out the old-fashioned versions of naturalist moral realism. (shrink)

"New wave" reductionism aims at advancing a kind of reduction that is stronger than unilateral dependency of the mental on the physical. It revolves around the idea that reduction between theoretical levels is a matter of degree, and can be laid out on a continuum between a "smooth" pole (theoretical identity) and a "bumpy" pole (extremely revisionary). It also entails that both higher and lower levels of the reductive relationship sustain some degree of explanatory autonomy. The new wave (...) predicts that reductions of folk psychology to neuroscience will be located in the middle of this continuum; as neuroscientific evidence about mental states checks in, theoretical folk psychology will therefore be moderately revised. However, the model has conceptual problems which preclude its success in reviving reductionism, and its commitment to a syntactic approach wrecks its attempt to rescue folk psychology. Moreover, the architecture of the continuum operates on a category mistake that sneaks in an eliminativist conclusion. I argue that new wave reductionism therefore tends to be eliminativism in disguise. (shrink)

Essay Review of New Waves in the Philosophy of Technology (Olsen/Selinger). Treats issue of difference of technology in Marx and Heidegger at some length.

I critically evaluate the influential new wave account of theory reduction in science developed by Paul Churchland and Clifford Hooker. First, I cast doubt on claims that the new wave account enjoys a number of theoretical virtues over its competitors, such as the ability to represent how false theories are reduced by true theories. Second, I argue that the genuinely novel claim that a corrected theory must be specified entirely by terms from the basic reducing theory is in (...) fact too restrictive for scientific practice and should be rejected. Basic theories co-evolve with nonbasic theories in a mutually interactive way, and thus the basic theories incorporate the concepts and concerns of nonbasic theories. Third, I show that once its ontological consequences are duly noted, the reductive part the new wave account collapses into the classical theory developed within the logical empiricist tradition. As such, it still falls prey to standard anti-reductionist argument based upon multiple realizability and the cross-classification of special science and physical science terms. (shrink)

Overview of recent work in philosophy of perception.

I critically evaluate Bickle’s version of scientific theory reduction. I press three main points. First, a small point, Bickle modifies the new wave account of reduction developed by Paul Churchland and Clifford Hooker by treating theories as set-theoretic structures. But that structuralist gloss seems to lose what was distinctive about the Churchland-Hooker account, namely, that a corrected theory must be specified entirely by terms and concepts drawn from the basic reducing theory. Set-theoretic structures are not terms or concepts but (...) the structures that they describe. Second, and more serious, a familiar problem for classical positivist account of reduction resurfaces within this newest wave of thinking, namely, commitment to property identities and inter-theoretic bridge laws (a problem I discussed at more length in "Collapse of the New Wave"). Indeed, this problem is exacerbated by Bickle’s conciliatory treatment of property plasticity, since he is willing to grant that a large number of special science terms denote multiply realized properties, at least if realistically construed. Still, in the end, Bickle sidesteps the reduction of properties by appealing to Hooker’s "function-to-structure token reduction." This is an interesting move with an intriguing concept of reduction. But problems remain. For, third, Bickle and Hooker's function-to-structure token reduction is actually a guised form of eliminative materialism. But that should be unacceptable since the position extends well beyond any modest revisionism for suspect items from a folk theory, say, in folk psychology or folk biology. Instead, it applies to functional terms and concepts employed throughout well-developed and explanatorily successful sciences. (shrink)

In this paper I investigate, within the framework of realistic interpretations of the wave function in nonrelativistic quantum mechanics, the mathematical and physical nature of the wave function. I argue against the view that mathematically the wave function is a two-component scalar field on configuration space. First, I review how this view makes quantum mechanics non- Galilei invariant and yields the wrong classical limit. Moreover, I argue that interpreting the wave function as a ray, in agreement (...) many physicists, Galilei invariance is preserved. In addition, I discuss how the wave function behaves more similarly to a gauge potential than to a field. Finally I show how this favors a nomological rather than an ontological view of the wave function. (shrink)

One argument for the moving spotlight theory is that it better explains certain aspects of our temporal phenomenology than does any static theory of time. Call this the argument from passage phenomenology. In this paper it is argued that insofar as moving spotlight theorists take this to be a sound argument they ought embrace a new version of the moving spotlight theory according to which the moving spotlight is a cresting wave of causal efficacy. On this view it is (...) more than just presentness that is temporary: a range of other fundamental properties are also temporary because presentness synchronically changes the fundamental properties that are instantiated in the present moment, from those instantiated when that moment is future, or past. On this view having experiences as of presentness co-varies with the presence of presentness, allowing the moving spotlight theorist to provide a compelling explanation for why we have the temporal phenomenology we do, and to explain how we can know that we are present by reflecting on the nature of said phenomenology. (shrink)

This is a review of a book by Shan Gao called "The meaning of the wave function", Cambridge: Cambridge University Press, 2017.

Part I looks at duality for the photon; Part II does the same for the electron. The traditional division of kinetic energy between radiation and matter-in-motion is reexamined permitting new insights into duality. An in-flight photon displays wave characteristics. Such a photon can interfere with itself and take all available space paths as a wave. In addition, photons pass through one another like waves whereas particles impact each other. It is only when the photon terminates on a material (...) object and gives up its energy – and ceases to be a photon – that particle characteristics appear, namely: 1) the photon is finally space located; and 2) oscillation ceases. This suggests that the photon’s wave and particle nature do not overlap. Understanding photon termination as a release of mass stored, rather than particle impact, permits a better understanding of presumed wave-particle duality for the photon. (shrink)

Sound is one of the types of waves that can be felt by the sense of hearing (ears). In physics, the definition of sound is something that is produced from objects that vibrate. Objects that produce sound are called sound sources. The sound source that vibrates will vibrate the molecules into the air around it. Sound is mechanical compression or longitudinal waves that propagate through the medium. This medium or intermediate agent can be liquid, solid, gas. So, sound waves can (...) propagate for example in water, coal, or air. Most sounds are a combination of various vibratory signals composed of harmonic waves, but pure sound can theoretically be explained by oscillating vibrational speed or frequency measured in Hertz (Hz) vibration units and amplitude or loudness of sound with measurements in decibels (dB). The effect sounds can have on us humans is simply astounding. While everyday life becomes stressful, overcrowded and increasingly hectic, we seek ways for inner peace and balance. The power of music, felt through overtone-rich sound therapy and sound massage, can be a solution. No matter how much scientific explanation is behind it, healing through music remains fascinating, even magical. This paper introduces a new field called cymatics and sound healing with their plausible impact to spirituality and consciousness research. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses (...) the methodology developed by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

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 consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

In this popular article, I suggest that the task of interpreting quantum mechanics becomes easier if we reject the view that the quantum universe must be described by a wave function. We should zoom out from the wave function and represent the universe with something more coarse-grained, one that naturally arises from considerations about the Past Hypothesis. The new proposal is called the Wentaculus.

There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...) the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

Existentialism is a concern about the foundation of meaning, morals, and purpose. Existentialisms arise when some foundation for these elements of being is under assault. In the past, first-wave existentialism concerned the increasingly apparent inability of religion, and religious tradition, to provide such a foundation, as typified in the writings of Kierkegaard, Dostoevsky, and Nietzsche. Second-wave existentialism, personified philosophically by Sartre, Camus, and de Beauvoir, developed in response to the inability of an overly optimistic Enlightenment vision of reason (...) and the common good to provide such a foundation. There is a third-wave existentialism, a new existentialism, developing in response to advances in the neurosciences that threaten the last vestiges of an immaterial soul or self. With the increasing explanatory and therapeutic power of neuroscience, the mind no longer stands apart from the world to serve as a foundation of meaning. This produces foundational anxiety. This collection of new essays explores the anxiety caused by this third-wave existentialism and some responses to it. It brings together some of the world’s leading philosophers, neuroscientists, cognitive scientists, and legal scholars to tackle our neuroexistentialist predicament and explore what the mind sciences can tell us about morality, love, emotion, autonomy, consciousness, selfhood, free will, moral responsibility, law, the nature of criminal punishment, meaning in life, and purpose. (shrink)

We investigate the meaning of the wave function by analyzing the mass and charge density distributions of a quantum system. According to protective measurement, a charged quantum system has effective mass and charge density distributing in space, proportional to the square of the absolute value of its wave function. In a realistic interpretation, the wave function of a quantum system can be taken as a description of either a physical field or the ergodic motion of a particle. (...) The essential difference between a field and the ergodic motion of a particle lies in the property of simultaneity; a field exists throughout space simultaneously, whereas the ergodic motion of a particle exists throughout space in a time-divided way. If the wave function is a physical field, then the mass and charge density will be distributed in space simultaneously for a charged quantum system, and thus there will exist gravitational and electrostatic self-interactions of its wave function. This not only violates the superposition principle of quantum mechanics but also contradicts experimental observations. Thus the wave function cannot be a description of a physical field but a description of the ergodic motion of a particle. For the later there is only a localized particle with mass and charge at every instant, and thus there will not exist any self-interaction for the wave function. Which kind of ergodic motion of particles then? It is argued that the classical ergodic models, which assume continuous motion of particles, cannot be consistent with quantum mechanics. Based on the negative result, we suggest that the wave function is a description of the quantum motion of particles, which is random and discontinuous in nature. On this interpretation, the square of the absolute value of the wave function not only gives the probability of the particle being found in certain locations, but also gives the probability of the particle being there. We show that this new interpretation of the wave function provides a natural realistic alternative to the orthodox interpretation, and its implications for other realistic interpretations of quantum mechanics are also briefly discussed. (shrink)

In this paper I put forward a new micro realistic, fundamentally probabilistic, propensiton version of quantum theory. According to this theory, the entities of the quantum domain - electrons, photons, atoms - are neither particles nor fields, but a new kind of fundamentally probabilistic entity, the propensiton - entities which interact with one another probabilistically. This version of quantum theory leaves the Schroedinger equation unchanged, but reinterprets it to specify how propensitons evolve when no probabilistic transitions occur. Probabilisitic transitions occur (...) when new "particles" are created as a result of inelastic interactions. All measurements are just special cases of this. This propensiton version of quantum theory, I argue, solves the wave/particle dilemma, is free of conceptual problems that plague orthodox quantum theory, recovers all the empirical success of orthodox quantum theory, and at the same time yields as yet untested predictions that differ from those of orthodox quantum theory. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

Music can infect us. In the dominant approach, music contaminates listeners through emotional mimicry and independently of value appraisal, just like when we catch other people’s feelings. Musical contagion is thus considered fatal to the mainstream view of emotions as cognitive evaluations. This paper criticizes this line of argument and proposes a new cognitivist account: the value metaphor view. Non-cognitivism relies on a contentious model of emotion transmission. In the competing model (social appraisal), we catch people’s emotions by (...) appraising value through their emotional expressions. Social appraisal debunks the main motivation for non-cognitivism and offers fruitful insights into musical contagion. Combining it with metaphor theory, I claim that musical contagion involves experiencing the music as a metaphor for emotions and values. Just like people infect us as we appraise value through their emotional expressions, music contaminates listeners because they hear it metaphorically-as some emotional expression and hereby appraise it metaphorically-as some value. As infectious music “sounds like” emotions and values, cognitivism is safe. (shrink)

ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen (...) as an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)

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 Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

In this chapter, I propose a new framework for extended epistemology, based on a second-wave approach to extended cognition. The framework is inclusive, in that it takes into account the complex interplay between the diverse embodiments of extended knowers and the salient properties of technological artifacts, as well as the environment in which they are embedded. Thus it both emphasizes and exploits the complementary roles played by these different elements. Finally, I motivate and explain this framework by applying it (...) to a case of interaction with contemporary technologies. (shrink)

Evidentialists and Pragmatists about reasons for belief have long been in dialectical stalemate. However, recent times have seen a new wave of Evidentialists who claim to provide arguments for their view which should be persuasive even to someone initially inclined toward Pragmatism. This paper reveals a central flaw in this New Evidentialist project: their arguments rely on overly demanding necessary conditions for a consideration to count as a genuine reason. In particular, their conditions rule out the possibility of pragmatic (...) reasons for action. Since the existence of genuine pragmatic reasons for action is common ground between the Evidentialist and the Pragmatist, this problem for the New Evidentialist arguments is fatal. The upshot is that the deadlock between these two positions is restored: neither side can claim to be in possession of an argument that could convince the other. As it happens, I myself favor Pragmatism about reasons for belief, and although I don't claim to be able to convince a committed Evidentialist, I do make a prima facie case for Pragmatism by describing particular scenarios in which it seems to be true. I then go on to develop my own preferred version of the view: Robust Pragmatism, according to which a consideration never constitutes a reason for believing a proposition purely in virtue of being evidence for it. (shrink)

We indicate a new way in the solution of the problem of the quantum measurement . In past papers we used the well-known formalism of the density matrix using an algebraic approach in a two states quantum spin system S, considering the particular case of three anticommuting elements. We demonstrated that, during the wave collapse, we have a transition from the standard Clifford algebra, structured in its space and metrics, to the new spatial structure of the Clifford dihedral algebra. (...) This structured geometric transition, which occurs during the interaction of the S system with the macroscopic measurement system M, causes the destruction of the interferential factors. In the present paper we construct a detailed model of the (S+M) interaction evidencing the particular role of the Time Ordering in the (S+M) coupling since we have a time asymmetric interaction . We demonstrate that , during the measurement , the physical circumstance that the fermion creation and annihilation operators of the S system must be destroyed during such interaction has a fundamental role . (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...) como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

Comments on the idea that music might be a process of communication between composer and listener.

Diagrams by Connor Camburn -/- The relationship between axiomatization, mechanization, creative individuation, and virtual/physical individuation presents a fascinating interplay of concepts that have significantly influenced various fields, including mathematics, physics, philosophy, and art. This essay explores these relationships by drawing insights from André Weil's "From Metaphysics to Mathematics," Gilles Châtelet's works, and Schmid's discussion on Gnostic Futurism. -/- Axiomatization: Weil and Grothendieck -/- Axiomatization, as discussed in André Weil's "From Metaphysics to Mathematics," represents the transformation of metaphysical concepts into formal (...) mathematical structures. Weil's document highlights the progression from vague metaphysical ideas to concrete mathematical theories. This process is evident in the works of mathematicians like Lagrange and Galois, where initial metaphysical notions eventually crystallized into the formal structures of modern algebra. Similarly, Alexander Grothendieck's work in algebraic geometry involved the creation of an abstract framework that could unify various mathematical concepts, demonstrating the power of axiomatization in providing a foundational structure for complex ideas. -/- Mechanization: Oppenheimer, Watson-Crick, and Von Neumann -/- Mechanization, in the context of scientific development, refers to the application of mechanical principles to solve problems and the automation of processes. Figures like Oppenheimer in physics, Watson and Crick in biology, and Von Neumann in computing and mathematics, represent the pinnacle of mechanization in their respective fields. Their work exemplifies how mechanization has enabled the simplification and automation of complex processes, leading to alienating discoveries such as the atomic bomb, the structure of DNA, and the development of modern computers. -/- Creative Individuation: Gnostic Futurism -/- Eric Schmid's discussion on Gnostic Futurism, as found in his document, offers a perspective on creative individuation. Gnostic Futurism, rooted in Kantian-Hegelian transcendental universalism, represents a departure from conventional realism, emphasizing a transcendental nature and integration of mythopoeia. This movement in art and philosophy underscores the role of creativity and individual expression in transcending traditional forms and norms. It embodies the idea of creative individuation, where individual creativity leads to the formation of new, often revolutionary, artistic and philosophical expressions. -/- Virtual/Physical Individuation: Châtelet's Perspective -/- Gilles Châtelet's works, particularly "Figuring Space: Philosophy, Mathematics, and Physics," delve into the concept of virtual/physical individuation. Châtelet discusses the configuration of space in mathematics and physics, emphasizing the role of diagrams in scientific discovery. This exploration of space, both virtual (as in mathematical abstractions) and physical (as in tangible representations), reflects the process of individuation in both realms. Châtelet's perspective highlights how mathematical and physical representations are not just tools for understanding the world but are also expressions of individual and collective intellectual endeavors. -/- Interconnections and Synthesis -/- The synthesis of these concepts reveals a complex tapestry of intellectual development across disciplines. Axiomatization provides a foundational structure that enables the mechanization of processes, as seen in the works of Oppenheimer, Watson-Crick, and Von Neumann. This mechanization, in turn, paves the way for creative individuation, where individuals can transcend established norms and frameworks, as exemplified in Gnostic Futurism. Finally, the concept of virtual/physical individuation, as explored by Châtelet, represents the culmination of these ideas, where the abstract and the tangible intersect, leading to new forms of understanding and expression. -/- In conclusion, the relationship between axiomatization, mechanization, creative individuation, and virtual/physical individuation is a testament to the dynamic and interconnected nature of intellectual progress. From the formal structures of mathematics to the revolutionary changes in art and philosophy, these concepts demonstrate how human thought and creativity continue to evolve, challenging existing paradigms and forging new paths of understanding and expression. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. (...) We want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

The philosophy of measurement studies the conceptual, ontological, epistemic, and technological conditions that make measurement possible and reliable. A new wave of philosophical scholarship has emerged in the last decade that emphasizes the material and historical dimensions of measurement and the relationships between measurement and theoretical modeling. This essay surveys these developments and contrasts them with earlier work on the semantics of quantity terms and the representational character of measurement. The conclusions highlight four characteristics of the emerging research program (...) in philosophy of measurement: it is epistemological, coherentist, practice oriented, and model based. (shrink)

The main claim of the paper is that one can be ‘realist’ (in some sense) about quantum mechanics without requiring any form of realism about the wave function. We begin by discussing various forms of realism about the wave function, namely Albert’s configuration-space realism, Dürr Zanghi and Goldstein’s nomological realism about Ψ, Esfeld’s dispositional reading of Ψ Pusey Barrett and Rudolph’s realism about the quantum state. By discussing the articulation of these four positions, and their interrelation, we conclude (...) that instrumentalism about Ψ is by itself not sufficient to choose one over the other interpretations of quantum mechanics, thereby confirming in a different way the indetermination of the metaphysical interpretations of quantum mechanics. -/- Key words: . (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

It is difficult to extract reliable criteria for causal locality from the limited ingredients found in textbook quantum theory. In the end, Bell humbly warned that his eponymous theorem was based on criteria that “should be viewed with the utmost suspicion.” Remarkably, by stepping outside the wave-function paradigm, one can reformulate quantum theory in terms of old-fashioned configuration spaces together with ‘unistochastic’ laws. These unistochastic laws take the form of directed conditional probabilities, which turn out to provide a hospitable (...) foundation for encoding microphysical causal relationships. This unistochastic reformulation provides quantum theory with a simpler and more transparent axiomatic foundation, plausibly resolves the measurement problem, and deflates various exotic claims about superposition, interference, and entanglement. Making use of this reformulation, this paper introduces a new principle of causal locality that is intended to improve on Bell's criteria, and shows directly that systems that remain at spacelike separation cannot exert causal influences on each other, according to that new principle. These results therefore lead to a general hidden-variables interpretation of quantum theory that is arguably compatible with causal locality. (shrink)

What is the meaning of the wave-function? After almost 100 years since the inception of quantum mechanics, is it still possible to say something new on what the wave-function is supposed to be? Yes, it is. And Shan Gao managed to do so with his newest book. Here we learn what contemporary physicists and philosophers think about the wave-function; we learn about the de Broglie-Bohm theory, the GRW collapse theory, the gravity-induced collapse theory by Roger Penrose, and (...) the famous PBR theorem; we learn about Schrödinger's original idea that the wave-function represents charge densities; we learn about the notorious measurement problem and its consequences; we learn about the challenges to find a consistent relativistic quantum theory; and we learn, of course, Gao's own suggestion for the status of the wave-function. Above all, Gao shows us the significance of protective measurements for our search of the ontology of quantum mechanics. Still not widely recognized among physicists and philosophers, protective measurements let us look deeper into quantum mechanics. For Gao this is the main tool to settle the issue on the ontological status of the wave-function: the wave-function is real because one can measure it. (shrink)

Background: how mind functions is subject to continuing scientific discussion. A simplistic approach says that, since no convincing way has been found to model subjective experience, mind cannot exist. A second holds that, since mind cannot be described by classical physics, it must be described by quantum physics. Another perspective concerns mind's hypothesized ability to interact with the world of quanta: it should be responsible for reduction of quantum wave packets; physics producing 'Objective Reduction' is postulated to form the (...) basis for mind-matter interactions. This presentation describes results derived from a new approach to these problems. It is based on well-established biology involving physics not previously applied to the fields of mind, or consciousness studies, that of critical feedback instability. -/- Methods: 'self-organized criticality' in complexity biology places system loci of control at critical instabilities, physical properties of which, including information properties, are presented. Their elucidation shows that they can model hitherto unexplained properties of experience. -/- Results: All results depend on physical properties of critical instabilities. First, at least one feed-back or feed-forward loop must have feedback gain, g = 1: information flows round the loop impress perfect images of system states back on themselves: they represent processes of perfect self-observation. This annihilates system quanta: system excitations are instability fluctuations, which cannot be quantized. Major results follow: -/- 1. Information vectors representing criticality states must include at least one attached information loop denoting self-observation. -/- 2. Such loop structures are attributed a function, 'registering the state's own existence', explaining -/- a. Subjective 'awareness of one's own presence' -/- b. How content-free states of awareness can be remembered (Jon Shear) -/- c. Subjective experience of time duration (Immanuel Kant) -/- d. The 'witness' property of experience – often mentioned by athletes 'in the zone' -/- e. The natural association between consciousness and intelligence -/- This novel, physically and biologically sound approach seems to satisfactorily model subjectivity. -/- Further significant results follow: -/- 1. Registration of external information in excited states of systems at criticality reduces external wave-packets: the new model exhibits 'Objective Reduction' of wave packets. -/- 2. High internal coherence (postulated by Domash & Penrose) leading to a. Non-separable information vector bundles. b. Non-reductive states (Chalmers's criterion for experience). -/- 3. Information that is: a. encoded in coherence negentropy; b. non-digitizable, and therefore c. computationally without digital equivalent (posited by Penrose). -/- Discussion and Conclusions: instability physics implies anharmonic motion, preventing excitation quantization, and totally different from the quantum physics of simple harmonic motion at stability. Instability excitations are different from anything hitherto conceived in information science. They can model aspects of mind never previously treated, including genuine subjectivity, objective reduction of wave-packets, and inter alia all properties given above. (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)

This article analyzes the implications of protective measurement for the meaning of the wave function. According to protective measurement, a charged quantum system has mass and charge density proportional to the modulus square of its wave function. It is shown that the mass and charge density is not real but effective, formed by the ergodic motion of a localized particle with the total mass and charge of the system. Moreover, it is argued that the ergodic motion is not (...) continuous but discontinuous and random. This result suggests a new interpretation of the wave function, according to which the wave function is a description of random discontinuous motion of particles, and the modulus square of the wave function gives the probability density of the particles being in certain locations. It is shown that the suggested interpretation of the wave function disfavors the de Broglie-Bohm theory and the many-worlds interpretation but favors the dynamical collapse theories, and the random discontinuous motion of particles may provide an appropriate random source to collapse the wave function. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

, Derek Matravers defends a new version of the arousal theory of musical expressiveness. In this paper it is argued that for various reasons, including especially what the theory implies about the inappropriateness of certain kinds of response to music, we should reject Matravers's theory in favour of some form of cognitivism.

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its (...) focus, it argues that the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

There is not much of a consensus on almost anything about quantum mechanics. I take it, however, that the minimum consensus is that "although quantum mechanics is empirically successful, quantum mechanics is hard to understand." Quantum mechanics, in the way it is presented in most textbooks, does indeed not provide a clear picture of reality that would make it a theory to be understood. In her new book, "The World in the Wave Function: A Metaphysics for Quantum Physics," Alyssa (...) Ney tries to make this blurry picture of reality more precise, even if this picture will turn out to be heterodox and unfamiliar. (shrink)

We provide a new perspective on the relation between the space of description of an object and the appearance of novelties. One of the aims of this perspective is to facilitate the interaction between mathematics and historical sciences. The definition of novelties is paradoxical: if one can define in advance the possibles, then they are not genuinely new. By analyzing the situation in set theory, we show that defining generic (i.e., shared) and specific (i.e., individual) properties of elements of a (...) set are radically different notions. As a result, generic and specific definitions of possibilities cannot be conflated. We argue that genuinely stating possibilities requires that their meaning has to be made explicit. For example, in physics, properties playing theoretical roles are generic; then, generic reasoning is sufficient to define possibilities. By contrast, in music, we argue that specific properties matter, and generic definitions become insufficient. Then, the notion of new possibilities becomes relevant and irreducible. In biology, among other examples, the generic definition of the space of DNA sequences is insufficient to state phenotypic possibilities even if we assume complete genetic determinism. The generic properties of this space are relevant for sequencing or DNA duplication, but they are inadequate to understand phenotypes. We develop a strong concept of biological novelties which justifies the notion of new possibilities and is more robust than the notion of changing description spaces. These biological novelties are not generic outcomes from an initial situation. They are specific and this specificity is associated with biological functions, that is to say, with a specific causal structure. Thus, we think that in contrast with physics, the concept of new possibilities is necessary for biology. (shrink)

One of the most debated problems in the foundations of the special relativity theory is the role of conventionality. A common belief is that the Lorentz transformation is correct but the Galilean transformation is wrong. It is another common belief that the Galilean transformation is incompatible with Maxwell equations. However, the “principle of general covariance” in general relativity makes any spacetime coordinate transformation equally valid. This includes the Galilean transformation as well. This renders a new paradox. This new paradox is (...) resolved with the argument that the Galilean transformation is equivalent to the Lorentz transformation. The resolution of this new paradox also provides the most straightforward resolution of an older paradox which is due to Selleri in. I also present a consistent electrodynamics formulation including Maxwell equations and electromagnetic wave equations under the Galilean transformation, in the exact form for any high speed, rather than in low speed approximation. Electrodynamics in rotating reference frames is rarely addressed in textbooks. The presented formulation of electrodynamics under the Galilean transformation even works well in rotating frames if we replace the constant velocity v\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\mathbf {v}$$\end{document} with v=ω×r\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\mathbf {v}=\varvec{\omega }\times \mathbf {r}$$\end{document}. This provides a practical tool for applications of electrodynamics in rotating frames. When electrodynamics is concerned, between two inertial reference frames, both Galilean and Lorentz transformations are equally valid, but the Lorentz transformation is more convenient. In rotating frames, although the Galilean electrodynamics does not seem convenient, it could be the most convenient formulation compared with other transformations, due to the intrinsic complex nature of the problem. (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 this work we present NERVOUS, an intelligent recommender system exploiting a probabilistic extension of a Description Logic of typicality to dynamically generate novel contents in AllMusic, a comprehensive and in-depth resource about music, providing data about albums, bands, musicians and songs. The tool can be used for both the generation of novel music genres and styles, described by a set of typical properties characterizing them, and the reclassification of the available songs within such new genres.

In the industrial era, advanced science and technology make immortality-obsessed human beings constantly develop, modify, and reshape their bodies and consciousness, to overcome the fragility and transience of their bodies and approach the dream of immortality. The transformation of the body, in turn, drives society to confront the co-existence of cyborg, transhuman, information subject, nomadic posthuman and other life forms. Focusing on Chinese-American writer Ken Liu’s science fiction the Future Trilogy, Arc, and The Waves, this paper attempts to explore the (...) metamorphosis of the body and the ethical choices in the tension between death and immortality, embodiment and disembodiment. Immortality is not a Utopian paradise but causes many ethical problems and loss of continuity of time, space, history, and identity. Liu’s works suggest that the solution to the problem of posthuman disembodiment involves embracing embodiment and recognizing the importance of memory and social interaction in the formation of one’s identity, affirming that memory and the interaction with others are necessary conditions for the formation of the subject’s identity. Blending genesis myths and technological immortality, Liu explores the possibility of creating new life different from human beings. The posthumans depicted are always in the status of becoming, eager to discover the new world, and indicate the author’s expectations for the bright new future. (shrink)