This chapter contains sections titled: How Does One Avoid Skepticism? The Experience Machine Contextualism My Take on Skepticism Notes.

The philosophy of the blues From B.B. King to Billie Holiday, Blues music not only sounds good, but has an almost universal appeal in its reflection of the trials and tribulations of everyday life. Its ability to powerfully touch on a range of social and emotional issues is philosophically inspiring, and here, a diverse range of thinkers and musicians offer illuminating essays that make important connections between the human condition and the Blues that will appeal (...) to music lovers and philosophers alike. (shrink)

The influence of background music on cognitive functions is still a matter of debate. In this study, we investigated the influence of background music on executive functions (particularly on inhibitory functions). Participants completed a standardized cued Go/NoGo task during three different conditions while an EEG was recorded (1: with no background music, 2: with relaxing or 3: with exciting background music). In addition, we collected reaction times, omissions, and commissions in response to the Go and NoGo stimuli. From the EEG (...) data, event-related potentials (ERPs) were calculated for the Go and NoGo trials. From these ERPs, the N2 and P3 components were specifically analyzed since previous studies have shown that these components (and particularly the Go-NoGo difference waves) are strongly associated with inhibitory functions. The N2 and P3 components of the difference waves (N2d and P3d) were used for statistical analyses. The statistical analyses revealed no differences between the three conditions in terms of amplitudes and latencies of the N2d and P3d components. In addition, reaction times, omissions, and commissions were comparable across all conditions. Our results suggest that in the context of this paradigm, music as background acoustic stimulation has no detrimental effects on the performance of a Go/NoGo task and neural underpinnings. (shrink)

The ethical theories employed in health care today assume, in the main, a modern Western philosophical framework. Yet the diversity of cultural and religious assumptions regarding human nature, health and illness, life and death, and the status of the individual suggest that a cross-cultural study of health care ethics is needed. A Cross-Cultural Dialogue on Health Care Ethics provides this study. It shows that ethical questions can be resolved by examining the ethical principles present in each culture, critically assessing (...) each value, and identifying common values found within all traditions, It encourages the development of global awareness and sensitivity to and respect for the diversity of peoples and their values and will advance understanding as well as help to foster a greater balance and a fuller truth in consideration of the human condition and what makes for health and wholeness. (shrink)

Amongst the multiple key philosophers who have addressed critical issues pertaining to music education since the mid-1900s, Bennett Reimer was one voice that began a systematic examination of the nature and value of music and music education as a foundation for a philosophy of music education. With the musical experience at the center of his philosophy, Reimer sought to explain how music articulates feeling, a core of who we are as human beings. Over the sixty years of writing, Reimer’s (...) thinking continued to be influenced by other disciplines including the literature on creative thinking and cognitive neuroscience. The impact of his writing on the field is multifarious, including philosophy, advocacy, curriculum, and the role of music in school-based programs. (shrink)

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were (...) asked to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 157-169 [Access article in PDF] Praxis and the PossibleThoughts on the Writings of Maxine Greene and Paulo Freire Randall Everett Allsup Columbia University Authors in a recent edition of the Philosophy of Music Education Review have assayed various understandings of praxis within the domain of music learning and teaching. 1 Leadened (perhaps) by history, this six-letter word sustains a multiplicity of meanings. (...) Philosophers as disparate as Aristotle, Marx and Engels, Sartre, Marshall Sahlins, Pierre Bourdieu, and David Elliott have represented praxis as a form of cultural-doing—but in many instances, this is where the similarities end. 2 By stirring up the pot, editor Estelle Jorgensen has sought to lighten history's burden, lest the word praxis suffer ossification, territorial over-use, or (worse) over-simplification.My first encounters with the word praxis were not particularly weighty or didactic. In graduate work with Maxine Greene, I would often hear praxis associated with the arts, with possibilities, openings, or alternatives. Greene does not construct a philosophical stance around the word; rather the conditions for praxis exist within the imagination, within "the capacity to look at things as if they could be otherwise." 3 Recalling Emily Dickinson, Greene writes that "imagination lights the possible's slow fuse." 4 Praxis, I think, is not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action. [End Page 157] This definition connects nicely with Paulo Freire, the revolutionary pedagogue who is of late often paired with Greene. 5 "Human activity," writes Freire, "consists of action and reflection: it is praxis." 6 The result is action upon our world.I must admit that as a long time fan of Freire (and as a student and friend of Greene), I have often wondered what exactly it means to act upon one's world, to name's one's world—especially as a music educator. Can such action lead to the creation of a love song? Can we say that certain art forms like the blues, be-bop, and jam band are more praxial than others? Might an encounter with Brahms lead to potentially transformative action upon my world?Freirian praxis, for sure, is non-neutral; it occurs when we disavow the traditional separation between abstracted learning and real life. After September 11, for example, my freshman music education majors created a requiem for the missing and the dead. This was the most difficult teaching I have ever facilitated. Before beginning our composition, we listened to several movements from the Faure Requiem, particularly the "In Paradisum": "May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest." We tried to attain Faure's sense of peace and hope; we admired his assurance that those who were gone were at rest, at peace. And we shared stories, and talked about our feelings and our pain. 7During this time, even the ordinary became infused with meaning. Banal pop music, like Enrique Inglesia's Hero, became a tribute song for many, including myself. Suddenly full of significance and relevance, I attended more closely to the simplicity of his chords and the sotto voce color of his voice: Would you die for the one you love? Hold me in your arms tonight. I wanna be your hero... The fact that this was an ordinary love song written some time before the terrorist attacks does not negate my feelings for it. Like Faure's requiem, it brought me a degree of comfort. In addition, I found solace in the music of Aaron Copland, particularly Quiet City. The open intervals seemed to speak of piece, quietude, and space. The opening trumpet recitative was defiant, but introspective—the English horn felt dark and mournful. I wanted to be back in an earlier New York, like the one that Copland knew and loved.Of course, acting upon our world requires inaction: thinking, perceiving, reflecting, reconceptualizing, connecting. For Freire and Greene, transformational or liberatory practice cannot... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Barbarous On Either Side: The New York Blues Of Mr. Sammler’s PlanetStanley CrouchThere are no two ways about virtue, my dear student; it either is, or it is not. Talk of doing penance for your sins! It is a nice system of business, when you pay for your crime by an act of contrition! You seduce a woman that you may set your foot on such and such (...) a rung of the social ladder; you sow dissension among the children of a family; you descend, in short, to every base action that can be committed at home or abroad, to gain your own ends for you own pleasure or profit.... That man with yellow gloves and a golden tongue commits many a murder; he sheds no blood, but he drains his victims as surely; a desperado forces open a door with a crowbar, dark deeds both of them! You yourself will do every one of the things that I suggested to you today, bar the bloodshed. Do you believe there is any absolute standard in this world?—Vautrin, Père GoriotWe are now mightily perplexed by the vulgarity and the brutal appetites of our culture, which Mr. Sammler sees so, so clearly, startled from page to page and in passage after passage of Saul Bellow’s 1970 novel. The terrible children of our day, the worst of our politicians, and the rampant sleaze that slides up and down the classes, across the races and religions, from the cynical students to the unrepentingly jaded and old, can be traced back to the elements that are so alarming to the protagonist of Mr. Sammler’s Planet. As a well-educated man who has smelled the molten breath and felt the bloody teeth of European fascism, Mr. Sammler is obsessed with understanding what makes or breaks a society, what causes a civilization to embrace ruthlessness as the [End Page 89] best way to realize its ambitions and handle its fears. A veteran of World War II, he has seen killing and he has done it himself, which makes him a man for whom none of his questions exists in a speculative air unfouled by the odor of murder. His intellectual ponderings are thereby part of a drama in which he has seen the lowest the Western world has to offer. This lack of innocence makes him a hero and a thinker haunted by his past and startled to uneasiness by the present. Oh, yes: Artur Sammler knows firsthand how quickly the metamorphosis from the refined to the smugly savage can take place. “Like many people who had seen the world collapse once, Mr. Sammler entertained the possibility it might collapse twice.”The very conception of Mr. Sammler is expressive of Bellow’s gift for bringing together the intellect, the passion, the spirit, and the flesh. The physical responses to stimulation are rendered with the same attention given to all of the many things that Mr. Sammler contemplates as he tries to get a grip on New York, America’s financial capital and the pinnacle of the nation’s culture. Mr. Sammler’s ideas are counterpointed by feeling and sensuality to such a degree that the thoughts are themselves elements of emotion, which is something only our finest writers can bring off, the literary condition of character so complete that every aspect of consciousness takes form within the container of a body equal in the life of its senses to the spirit it carries. We get the feeling of a human being in repose, in grief, in rage, in self-protective contemplation, in unsparing self-examination, in attentive motion through Manhattan, on foot, in public transportation, in chauffeured limousine.New York’s power over the country was central to why it was chosen as the place of action. Mr. Sammler could not be in a better setting if he were to wrestle with the identity of the United States. One part of it obviously has to do with the character’s Jewishness. Manhattan and Hollywood are the two places where Jews have made their deepest imprints on the country. Unlike the dream factory of Hollywood, New York is the city... (shrink)

As illustrated in Goethe's famous novel of the same name, elective affinities are powerful relationships that crystallize under changing conditions. In this new book, Lydia Goehr focuses on the history of elective affinities between philosophy and music from German classicism, romanticism, and idealism to the modernist aesthetic theory of Theodor W. Adorno and Arthur C. Danto. Aesthetic theory, she argues, depends on a dynamic philosophy of history centered on tendencies, yearnings, needs, and potentialities. With this in mind, she recasts the (...) theses of Adorno and Danto regarding the death or end of philosophy, art, music, and human experience as arguments for continuation and survival. _Elective Affinities_ tracks the migration of aesthetic and critical theory from Germany to the United States following the catastrophic period of the twentieth century marked by the Second World War. (shrink)

An engaging argument about what experimental music can tell us about being human. -/- In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we’re already posthuman, while others endure the (...) extended consequences of never having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. -/- Rather than pursuing the human’s beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier’s neurofeedback music, Pamela Z’s BodySynth performances, Nam June Paik’s musical robotics, Pauline Oliveros’s experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human. (shrink)

Illness narratives convey a person’s feelings, thoughts, beliefs, and descriptions of suffering and healing as a result of physical or mental breakdown. Recognized genres include fiction, nonfiction, poetry, plays, and films. Like poets and playwrights, musicians also use their life experiences as fodder for their art. However, illness narratives as expressed through popular music are an understudied and underutilized source of insights into the experience of suffering, healing, and coping with illness, disease, and death. Greater attention to the value of (...) music within medical education is needed to improve students’ perspective-taking and communication. Like reading a good book, songs that resonate with listeners speak to shared experiences or invite them into a universe of possibilities that they had not yet imagined. In this article, we show how uncovering these themes in popular music might be integrated into medical education, thus creating a space for reflection on the nature and meaning of illness and the fragility of the human condition. We describe three kinds of illness narratives that may be found in popular music (autobiographical, biographical, and metaphorical) and show how developing skills of close listening through exposure to these narrative forms can improve patient-physician communication and expand students’ moral imaginations. (shrink)

It is currently assumed that exposure to an artificial blue-enriched light enhances human alertness and task performance, but recent research has suggested that behavioural effects are influenced by the basal state of arousal. Here we tested whether the effect of blue-enriched lighting on vigilance performance depends on participants’ arousal level. Twenty-four participants completed four sessions (blue-enriched vs. dim light x low vs. high arousal) at 10 pm on four consecutive days, following a repeated-measures design. Participants’ arousal was manipulated parametrically (...) through the execution of a cycling task at two intensities (low vs. moderate), and was checked by monitoring their heart rate. On each session, distal and proximal skin temperatures were recorded as a neuroergonomic index of vigilance, while participants performed a 20-min psychomotor vigilance task (PVT) under either blue-enriched light or dim light conditions. The Positive and Negative Affect Schedule (PANAS), Karolinska Sleepiness Scale (KSS) and Borg Rating of Perceived Exertion Scale (RPE) were used to measure subjective psychological state. The results showed that the exercise-induced manipulation of arousal produced robust alerting effects in most measures, while the lighting manipulation only attenuated subjective sleepiness and enhanced positive affect, but it did not influence behaviour or physiology. Acute exposure to a blue-enriched light was practically ineffective when the arousal level was over baseline. The present research favoured the use of acute physical exercise over acute exposure to blue-enriched lighting in order to boost humans’ alertness when necessary, as in work settings where maintaining optimal levels of attention is difficult (shift work, night-work, vigilance tasks) and necessary to prevent human error and accidents. (shrink)

The so-called New Music in Europe after the Second World War was based on the idea of progress, similar to technological progress and related to it, and aimed at a complete rationalization of composing. The ideal of music as autopoiesis, which appeared in the 1950s, became inherent to this development. It supposed a kind of communication on music as a reified object, which opposed music making and listening as communication between partners. Separated from the life-world and conceived as a self-referential (...) system, New Music should represent not only the logical achievement of the historical development of European music, but also the superiority of Western musical thought in the more developed countries (like the USA, France, West Germany) over the music cultures of the world. Therefore, the integral serialism, which should rule the musical composition, became a form of symbolic power within the musical field, in correspondence with similar forms of domination within the economic, political and technological fields. However, some European composers rejected this trend and tried to find an alternative to aestheticism by means of political engagement. For instance, the Italian composer Luigi Nono (1924-90) explores the dialectic between subject and object, technological development and critique of technology, avant-garde and critique of progress, globalization and anti-imperialistic resistance. In his strategy, in which Gramsci's and Walter Benjamin's thought played an important role, aesthetics became inseparable from politics. His search for identity as a composer transforms the tragedy of listening into an allegory of human condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Myth, and EducationThe Case of The Lord of the Rings Film TrilogyEstelle R. Jorgensen (bio)In probing the interrelationship of myth, meaning, and education, I offer a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King.1 Intersecting literature, film, and music (...) allows me to explore various perspectives or ways of meaning making associated with this myth. I then trace some of the implications of the analysis for musical and general education.I am particularly interested in the musical connections with myth evident in societies around the world and well established in the anthropological, ethnomusicological, and philosophical literatures. For example, Steven Feld finds the myth of the muni bird to be foundational to a New Guinea society in shaping musical expression and communal beliefs and practices.2 Likewise, as Lewis Rowell argues, Western music is rooted in and acquires its own mythos of person, power, and musical instruments; Dionysius, Apollo, Lachesis, Clotho, Atropos, Orpheus, Guido of Arezzo, St. Cecilia, and Thomas Mann's Doctor Faustus are among those whose impact on music are legendary, formative, and figurative.3 Associations of particular myths with operatic, orchestral, and choral repertoire in the Western classical tradition also abound, such as Wagner's operatic setting of the Lay of the Nibelung and Sibelius's evocation of the Finnish Vālhālla. Music and myth are interconnected especially in the film music of our time, for example, The Lord of the Rings trilogy, Titanic, and the Star Trek and Star Wars series.In The Lord of the Rings, my present focus, Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time—especially past and present—and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively [End Page 44] materialistic societies. Music's role in kindling reverence goes to the heart of what these films share that make them mythic—transcendence, profundity, ambiguity, narrativity, and an aesthetic and didactic character that arouse awe, mystery, and a heightened sense of the human condition. Here, music is primarily representational,4 serving functional as well as aesthetic/artistic roles in expressing such mythic themes as the contest between good and evil (in which good is often more fragile and the odds sometimes insurmountable) and the inevitability of death, in which human beings are often at the whim of capricious gods, natural forces, and their own weakness. It adds emotional and intellectual feeling to the visual images, pointing particular attention to specific scenes and representing the tensions built or released as the narrative and visual images unfold.Music's role in blurring past and present is particularly interesting since it is an art of time. The Lord of the Rings evokes an earlier time of crisis in Middle-earth, when the survival of humanity was in jeopardy. The soundtrack assists the moviegoer to make connections between times and travel imaginatively through time, thereby bringing alive the past and imagined future in the present moment. Boundaries between past and present become fuzzier, and one is helped in moving from one time to another. Leitmotifs are of particular interest in helping to make the ambiguity of the narrative more easily accessible and comprehensible, even at risk of oversimplifying matters—a quality evocative of music's use in the speech-song performances of the Iliad, among other ancient stories.Tolkien's fairytale is not couched for children, as is his earlier The Hobbit, but written unabashedly for adults.5 The Fellowship of the Ring can be seen as an epic fairytale with "a kind of religious significance."6 In her analysis of "life symbols"—or artistic, ritualistic, and mythic systems that are read "non-discursively," having no assigned connotation and therefore felt and grasped imaginatively and intuitively—Susanne Langer suggests that fairytales are a genre below that of myth in the continuum between dream and myth. For her, "myth has … a... (shrink)

The Eurocentric canon remains the predominant focus of music education often excluding the role of music and experiences of Black individuals and people of color. This singular perspective creates an incomplete and inaccurate understanding of the comprehensive nature of music and the humans who create, perform, and engage with it. In this article, the author shares her experience as a Black music educator and her aspirations for a music profession that incorporates the full range of human music engagement and (...) expression. The paper begins with a reflection on W.E.B. DuBois’s double consciousness followed by an exploration of the nuances, complexities, contradictions, and beauty of being a Black educator in a primarily white field. Subsequently, the essay presents four conceptual principles for a reimagined, inclusive music education approach, drawing inspiration from Sylvia Wynter’s “new science of the Word.” These principles advocate retelling the music education narrative to incorporate historically marginalized voices, reorienting music education to be human-centered, embracing interdisciplinary approaches to view music teaching and learning, and acknowledging the power of music in uplifting the human condition. Finally, this paper proposes a pathway for reconciling diverse identities prevalent in American culture with music education and academia. (shrink)

Why is it so hard to make up our minds? Adam and Eve set the template: Do we or don't we eat the apple? They chose, half-heartedly, and nothing was ever the same again. With this book, Kenneth Weisbrode offers a crisp, literate, and provocative introduction to the age-old struggle with ambivalence. Ambivalence results from a basic desire to have it both ways. This is only natural--although insisting upon it against all reason often results not in "both" but in the (...) disappointing "neither." Ambivalence has insinuated itself into our culture as a kind of obligatory reflex, or default position, before practically every choice we make. It affects not only individuals; organizations, societies, and cultures can also be ambivalent. How often have we asked the scornful question, "Are we the Hamlet of nations"? How often have we demanded that our leaders appear decisive, judicious, and stalwart? And how eager have we been to censure them when they hesitate or waver? Weisbrode traces the concept of ambivalence, from the Garden of Eden to Freud and beyond. The Obama era, he says, may be America's own era of ambivalence: neither red nor blue but a multicolored kaleidoscope. Ambivalence, he argues, need not be destructive. We must learn to distinguish it from its symptoms--selfishness, ambiguity, and indecision--and accept that frustration, guilt, and paralysis felt by individuals need not lead automatically to a collective pathology. Drawing upon examples from philosophy, history, literature, and the social sciences, _On Ambivalence_ is a pocket-sized portrait of a complex human condition. It should be read by anyone who has ever grappled with making the right choice. (shrink)

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence (...) of music making. Music qua music has been a part of human expression for at least some forty-thousand years and it could well be speculated that the making of music accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts".Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins, we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos. This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological". Jung drew on a much wider cross-cultural experiential and intellectual base than Freud. His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness. Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music. (shrink)

Architecture is a philosophical puzzle. Although we spend most of our time in buildings, we rarely reflect on what they mean or how we experience them. With some notable exceptions, they have generally struggled to be taken seriously as works of art compared to painting or music and have been rather overlooked by philosophers. In On Architecture , Fred Rush argues this is a consequence of neglecting the role of the body in architecture. Our encounter with a building is first (...) and foremost a bodily one; buildings are lived-in, communal spaces and their construction reveals a lot about our relation to the environment as a whole. Drawing on examples from architects classic and contemporary such as Le Corbusier and Frank Lloyd Wright, and exploring the significance of buildings in relation to film and music and philosophers such as Heidegger and Merleau-Ponty, Fred Rush argues that philosophical reflection on building can tell us something important about the human condition. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 170-184 [Access article in PDF] Music Education and LawRegulation as an Instrument Marja Heimonen Sibelius Academy, Helsinki, Finland Introduction Of all the fine arts, music has the greatest influence on passions; it is that which the law-giver must encourage most: a piece of music written by a master inevitably touches the feelings and has more influence on morality than a good book, (...) which convinces reason without affecting our habits. (Napoleon 1797) 1This essay examines the relationship between music education and law and focuses on extra-curricular music education for children and adolescents. 2 The tension between the general (law) and the particular (individual needs of each pupil) is described. However, achieving harmony is important both in law and in music. A composer may create a composite piece of music (order) out of fragments (disorder) 3 just as a judge creates order when he or she decides a legal case, or a law-giver enacts a statute that takes account of different kinds of interests of people usually represented by political parties or associations.The concept of freedom is also important both in music and in law. It has been stated that there is no freedom without boundaries. Legal norms that usually restrict the freedom of human behavior have an important role in creating [End Page 170] freedom: they can guarantee opportunities and circumstances for musical activities.In this paper certain legal aspects related to music education are approached in the light of two principles: the right to education and freedom in education. One of the aims is to discover what kind of regulative model would be suitable and would actually promote music education. The right to education refers to the right to music education and to the duty of the state to secure the relevant conditions and circumstances, whereas freedom in education refers to individual needs and choice regarding the content. The intention is to describe the educational and legal issues as they presently are particularly in Sweden, England, Germany, and Finland, and in the process of doing this to raise additional questions. Law as an Instrument The subtitle of this essay, "Regulation as an Instrument," refers to Aristotle's ideas about the law as a means of moral education. 4 In his view, the state has to educate its individual citizens in the exercise of virtue, since living according to virtue means living in harmony with one's own nature, this being the proper end of the individual. 5 Aristotle referred to virtue as a disposition that demands long and careful exercise. Thus, for him and his followers, the law becomes an instrument in moral education. 6Aristotle argued that moral education is one of the functions of music 7 because music has the power of forming character. 8 He was of the opinion that virtues manifest themselves in forms of activity. For instance, in order to acquire correct musical taste and judgment, free men should learn to play musical instruments; music education should include participation in actual playing. In general, Aristotle stressed the importance of education: "It is clear then that there should be laws laid down about education, and that education itself must be made a public concern." 9Aristotle's ideas on the good life have become the basis for many thinkers, especially communitarians. Liberal concepts, such as those presented by Ronald Dworkin, can be compared with communitarian conceptions of "the good" and the role of the state in promoting it. Liberal and communitarian approaches may be integrated as they are in "moral individualism" where the aim is to find a way to promote the moral development of an individual in a pluralistic, multicultural society. 10 The integration of communitarian and liberal views should help in finding a way to justify a positive role for the state in producing conditions and circumstances for the good, flourishing life. The content of a good life should not be directed by the state, although in practice the state cannot be completely neutral. Music is a part of the good life... (shrink)

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers, and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, (...) an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. (shrink)

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further investigation in congenital amusics. Hence, (...) we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control, alerting, and orienting while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, (...) if we wanted to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

This paper explores the meaning of interpretation in the works of Hans-Georg Gadamer and Glenn Gould, the Canadian pianist and intellectual. As a performing art, music illustrates the cognitive and practical dimensions of interpretation. While emphasizing the pre-interpreted character of musical reception and performance, both authors point to the fact that difference, alterity, and negativity lie at the heart of creative interpretation, cultivation and self-knowledge. The notion of ecstasy, understood as a type of self-forgetfulness that represents a radical form of (...) encounter with alterity, provides the basis for a conception of subjectivity as grounded on linguistic, historical and cultural conditions, albeit not reducible to them. I maintain that the notion of ecstatic subjects is a powerful alternative to both the self-centred notion of subjectivity and its anti-humanistic counterpart in accounting for human agency. (shrink)

The claim that listening to extreme music causes anger, and expressions of anger such as aggression and delinquency have yet to be substantiated using controlled experimental methods. In this study, 39 extreme music listeners aged 18–34 years were subjected to an anger induction, followed by random assignment to 10 min of listening to extreme music from their own playlist, or 10 min silence (control). Measures of emotion included heart rate and subjective ratings on the Positive and Negative Affect Scale (PANAS). (...) Results showed that ratings of PANAS hostility, irritability, and stress increased during the anger induction, and decreased after the music or silence. Heart rate increased during the anger induction and was sustained (not increased) in the music condition, and decreased in the silence condition. PANAS active and inspired ratings increased during music listening, an effect that was not seen in controls. The findings indicate that extreme music did not make angry participants angrier; rather, it appeared to match their physiological arousal and result in an increase in positive emotions. Listening to extreme music may represent a healthy way of processing anger for these listeners. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 126-138 [Access article in PDF] Music Education for the Twenty-First Century A Philosophical View of the General Education Core Anthony J. Palmer Boston University We are all one species with one brain and neural system, yet consciousness about our existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, looking (...) beyond our narrow perspectives is essential if we are to find commonality and compatibility with all humankind.Therefore, I find it incumbent that we, as college/university professors, examine our present culture-national and global-to ascertain current conditions and what positive roles each citizen may be able to play on the larger stage of world affairs. Musician-teachers, who are the products of the curriculum, should not be exempt from the responsibilities of contributing solutions. Rather, they should produce a program that is sensitive to the larger context in which we all reside. To be sure, we have no direct control over global events. We do, however, exercise at least a modicum of control over the kind of person emerging from our courses of study.In light of the foregoing, this paper will examine (1) the present global conditions with which we are confronted, (2) responsibilities of the college/university [End Page 126] faculties toward developing students with greater awareness, (3) examination of the general education that all baccalaureate students must satisfy for the degree, (4) the education within the general education courses with a focus on the music education student, and (5) a proposal on general education. The Present Context Today we are at a juncture where no one can predict the future with any assurance of accuracy. The world in the twenty-first century has taken an unexpected turn toward greater chaos and has the potential to end life as we have known it in previous centuries. Although earlier generations experienced many changes and watershed moments, the conditions were never potentially as cataclysmic as they are today because of the explosive power of our so-called defensive weapons. In addition, fed by technology, the pace of change is extremely rapid and multiplies exponentially. Robert Wright states in this regard, Neither biological evolution nor human history is a smooth, steady process. Both pass through thresholds.... To some people, the current era has the aura of a threshold; it has that unsettling, out-of-control feeling that can portend a major shift. Technological, geopolitical, and economic change seem ominously fast, and the fabric of society seems somehow tenuous.1He goes on to say, World currency markets are rocked by the turbulent force of electronically lubricated financial speculation. Weapons of mass destruction are cultivated by rogue regimes and New Age cults. Nations seem less cohesive than before, afflicted by ethnic or religious or cultural friction. Health officials seriously discuss the prospect of a worldwide plague-the unspeakably gruesome Ebola virus, perhaps, or some microbe we don't yet know about, spread around the world by jet-propelled travelers. Even tropical storms seem to have grown more intense in recent decades, arguably a result of global warming.2The foregoing was written in 2000, well before the devastating events of September 11 and subsequent human-initiated disasters, yet it still rings true. Where are we heading? What is our future with a world torn by terror, the continual development of more destructive weapons, and a seeming lack of desire to ameliorate our differences in a peaceful manner? Add to these the inexorable advance of technology that seems to know no end. It is most likely that the world in 2050-perhaps even as early as 2025-will not be recognized by our present population, assuming that we do survive as a civilized world.Of course, the outlook is not exclusively bleak and the continued development of technology is not all on the debit side of the ledger. Advances made in [End Page 127] medicine portend the re-growing of brain cells, repair... (shrink)

Previous studies have shown that the color red can affect basic motor functioning. However, these studies utilized simple gross motor tasks rather than those assessing complex fine motor skills. Moreover, these empirical studies were theoretically based on the threat–behavior link in human and non-human animals, and neglected the relationship between arousal and motor performance. According to the Yerkes–Dodson law and the inverted-U hypothesis in sport psychology, for simple motor tasks, high arousal is more advantageous than low arousal ; (...) for complex motor tasks, low arousal is more advantageous than high arousal. The current research examined the effect of color on different kinds of motor skills based on the inverted U-hypothesis. In Experiment 1, we examined the effect of red and blue on dart-throwing performance, whereas in Experiment 2, we examined the effect of red and blue on grip strength performance. The results showed that performance of fine motor skill in the blue condition was better than in the red condition, and performance of gross motor skill in the red context was better than in the blue context. These results indicate that the type of motor skill assessed moderates the influence of red and blue on motor performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Voice of Thersites:Reflections on the Origins of the Idea of EqualitySiep StuurmanIn the first century bc the Greek historian Diodorus Siculus observed that there were kings before the discovery of writing.1 Diodorus was right: the shared reflection about the human condition made possible by writing emerged in societies where distinctions between ruler and ruled, man and woman, master and slave, lord and commoner, and finally native (...) and foreigner constituted the "deep normality" of social life. No wonder that so much of early social and political thought consists of justifications of inequality. Powerful discourses of inequality told everyone what their station in life was and instructed them to speak and behave accordingly.What is truly remarkable, viewed against this background, is the emergence of ideas of equality. Why and how did people arrive at the daring and implausible idea that men are equal? In the history of political thought this question is usually discussed in the context of the advent of democratic rule in the Greek polis, that is, in a situation in which the demos is already constituted as a political actor. To constitute itself politically, however, the people or its spokesmen must already command a language in which the claim of equality can be expressed. In this essay I seek to retrieve the origins of that language, the historical moment when equality became thinkable in a setting in which the politicized demos had not yet appeared on the horizon. I will examine the famous Thersites episode in Homer's Iliad to show how this could happen, but my argument goes beyond the case of Homer. In the conclusion of this essay I will outline a general framework for the analysis of the interplay between social experiences, available languages, and the origins of ideas of equality. [End Page 171]Equality was not an empirical idea.2 Quite the contrary, the numbing repetition of the daily routines of inequality would seem to make it almost unthinkable, in the same category as black suns and men walking upside down. In such circumstances where was there space for the very thought of equality? How could it even find a voice amidst the deafening roar of kings, priests, and aristocrats? That simple question is my starting point.I will approach this question by means of an equally simple conjecture. Ideas of equality emerge when men or women draw on the egalitarian potentialities of available shared languages, and they do so to make sense of and to change or sustain determinate social experiences. Notions of equality do not arise out of the blue. They usually take the form of a critique of prevailing ideas about the superiority of some people above others. In that sense every discourse of equality is grafted upon some previously articulated discourse of inequality. All discourses of equality are potentially egalitarian because "equality, as an idea, consists in the belief that things can be alike and when alike should receive similar treatment."3 When somebody asserts that "we" are in some relevant sense "like them," the very utterance of the claim implies a questioning of the given relationship between "us" and "them."Where to begin our investigation? I start from the assumption that civilizations are, among other things, defined by the texts on which they confer canonical status. That is not to say that such texts are unquestionable or that their message is unequivocal. Canonical texts are not simply commands or prescriptions, they rather provide the master narratives and exemplary stories later authors draw upon to formulate authoritative interpretations. The major canonical texts of civilizations can usefully be seen as the stepping stones leading to the main interpretative traditions. The Homeric epics, the Hebrew Bible, the New Testament, the Qur'an, and the Analects of Confucius are outstanding examples of such canonical texts. The first step in our investigation is therefore an examination of such texts, looking for critiques of inequality as well as implicit or explicit notions of equality.Homeric Equality?On the face of it Homer may seem an unlikely source for the emergence of any notion of equality. In his influential history of ethics, Alasdair MacIntyre asserts that the Homeric concepts of goodness... (shrink)

In “Making Music Together: A Study in Social Relationship,” Alfred Schutz offers a phenomenological description of a structure he contends is at the root not only of shared musical meaning, but of human communication and social relations as such: the “tuning-in relationship.” The aim of what follows is to establish that this same structure is at the root of ethical relationships, which may shed some light on the conditions under which it is possible to respond appropriately to ethically fraught (...) situations. Schutz’ analysis of the play of internal and external time establishes what the tuning-in relationship must be, but not yet how it is possible. His account also points to two important preconditions of tuning in: embodiment as the middle term between internal and external time, and practices as more widely shared meaning contexts which may persist across generations. For several reasons, Schutz does not give embodiment its due in his account, though his earlier work on course-of-action types sheds some light on the nature of practices. In all, though, these amount to promising leads for further investigation. (shrink)

A number of theories about the origins of musicality have incorporated biological and social perspectives. Darwin argued that musicality evolved by sexual selection, functioning as a courtship display in reproductive partner choice. Darwin did not regard musicality as a sexually dimorphic trait, paralleling evidence that both sexes produce and enjoy music. A novel research strand examines the effect of musicality on sexual attraction by acknowledging the importance of facial attractiveness. We previously demonstrated that music varying in emotional content increases the (...) perceived attractiveness and dating desirability of opposite-sex faces only in females, compared to a silent control condition. Here, we built upon this approach by presenting the person depicted (target) as the performer of the music (prime), thus establishing a direct link. We hypothesized that musical priming would increase sexual attraction, with high-arousing music inducing the largest effect. Musical primes (25 s, piano solo music) varied in arousal and pleasantness, and targets were photos of other-sex faces of average attractiveness and with neutral expressions (2 s). Participants were 35 females and 23 males (heterosexual psychology students, single, and no hormonal contraception use) matched for musical background, mood, and liking for the music used in the experiment. After musical priming, females’ ratings of attractiveness and dating desirability increased significantly. In males, only dating desirability was significantly increased by musical priming. No specific effects of music-induced pleasantness and arousal were observed. Our results, together with other recent empirical evidence, corroborate the sexual selection hypothesis for the evolution of human musicality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 112-125 [Access article in PDF] You Make My Heart Sing David Rothenberg Last March I went to Pittsburgh to play music live with birds. The plan was to arrive at dawn, to catch the wary singers at their best—in the early morning chorus, when the most sound was happening. I met my friend Michael Pestel at the gates of the National Aviary, a (...) mostly forgotten federal institution in a rundown neighborhood. I had never heard of the aviary before Pestel told me what a great place it was to jam with the more-than-human world. The staff was rumored to be friendly, and they liked to let musicians in during the early hours before the public, mostly guided schoolchildren, would storm the gates.Pestel was there with his flute and various homemade stringed instruments. I had clarinets and saxophones, coaxed out of their cases, a bit tired from the long ride, but ready to hear what these birds had up their sleeves. We headed for the marsh room, a vaulted expanse with an observation deck and waterbirds from all over the world. I strained my ears to catch some pretty rocking bird beats, but they sounded familiar. Too familiar—the aviary was blaring Marvin Gaye at top volume to these birds at six o'clock in the morning. They were definitely squawkin' and squealin'."I cannot work in these conditions," muttered Pestel. "We've got to get these people to turn that racket down.""Didn't you warn them we were coming?""No," he shook his head. "You can't do that. Art always arrives without warning." [End Page 112]"You sure they'll let us do this?""No problem, man, I've come here many times before. These people know me. These birds know me."Marvin was turned down. The sprinklers were turned down (rain must start in the rainforest room every day before sunrise). How else to keep the gaudy barbets happy? Does a blue-crowned motmot (Momotus momota) or a violaceous euphonia (Euphonia violacea) really want to hear strange instrumental shrieks before breakfast? Weren't they content with "What's Going On?"Athanasius Kircher 1 knew the birds were onto something even in 1650:And then Wittgenstein had the nerve to warn us that if a lion could talk, we would not understand him. 2 When a lion roars, we do understand him (or her). If a cat purrs, we understand her, too. If the voice of an animal is not heard as message but as art, interesting things start to happen: Nature is no longer inscrutable, some alien puzzle, but instead immediately something beautiful, a source of exuberant song, a tune with some space for us to enter, at once a creative place for humanity to join in.We set up on the wooden deck, listening out over the water. Instruments out of their cases, recording equipment wired and set to go. An American crow (Corvus brachyrhynchos) was in the center of the action, sitting on a branch at the side of the room. He cocked his head, eyed us knowingly. Looking like there was something he wanted to say. [End Page 113]Pestel played a long, low sliding note, followed by a scratchy puff of air. Something strange swooped down next to my feet, shuffled its large black wings. Some kind of ungainly turkey... I read from a plaque on the railing that it was a Palawan peacock pheasant (Polyplectron emphanum). Its quizzical gaze was mute."What are you looking at?" I glared. He stepped cautiously toward the microphone cable, ready to gobble it in his hooked, formidable beak."Hey," I brushed him off. "Stop dancing. Sing!" But no, he was the prancing, silent type.All of a sudden there was a strange voice. A human voice? "Who." I heard. "Who. Who what where why. Who what where why."It was the crow. But not just any crow. He spoke."Did you hear that?" I coaxed Pestel up from the flute."Oh," he said. "That's Mickey. He's been here for years.""Does... (shrink)

The main purpose of this paper is to examine the validity of the contention that, over the past decades, we have been witnessing the rise of the ‘posthuman condition’. To this end, the analysis draws on the work of the contemporary philosopher Rosi Braidotti. The paper is divided into four parts. The first part centres on the concept of posthumanism, suggesting that it reflects a systematic attempt to challenge humanist assumptions underlying the construction of ‘the human’. The second (...) part focuses on the concept of post-anthropocentrism, demonstrating that it articulates a desire to reject the twin ideas of ‘species supremacism’ and ‘human exceptionalism’, which it seeks to replace with ‘species egalitarianism’ and ‘monistic vitalism’. The third part is concerned with the concept of critical posthumanities, positing that its advocacy is based on the cross-fertilization of posthumanism and post-anthropocentrism. The fourth part offers an assessment of the ‘posthuman condition’ thesis, evaluating the extent to which it sheds new light on the ways in which our engagements with the world are shaped by the confluence of zoe-, geo-, and techno-based dimensions. The paper concludes with a brief summary of the key insights gained from the preceding inquiry. (shrink)

In an age of cloning, virtual reality and artificial intelligence what sort of future is in store for human beings? If it is a "posthuman" future as some predict, will it also be inhuman? On the Human Condition is a thought-provoking and profound reflection on where the idea of the human stands today. Dominique Janicaud argues that while we need to avoid apocalyptic talk of a posthuman condition, as embodied in technology such as cloning, we (...) should neither fall back on a conservative humanism nor become technophobic. Drawing on topical examples such as genetic engineering, the mythology around the Frankenstein myth and the ideas of Pascal and Primo Levi, Dominique Janicaud urges us to acknowledge the fragile and provisional nature of being human. Above all, he argues that even if we do live in a world that is already posthuman, it is not a predicament we can confront alone and heroically, but must share with others. (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)

A work of striking originality bursting with unexpected insights, _The Human Condition_ is in many respects more relevant now than when it first appeared in 1958. In her study of the state of modern humanity, Hannah Arendt considers humankind from the perspective of the actions of which it is capable. The problems Arendt identified then—diminishing human agency and political freedom, the paradox that as human powers increase through technological and humanistic inquiry, we are less equipped to control (...) the consequences of our actions—continue to confront us today. This new edition, published to coincide with the fortieth anniversary of its original publication, contains an improved and expanded index and a new introduction by noted Arendt scholar Margaret Canovan which incisively analyzes the book's argument and examines its present relevance. A classic in political and social theory, _The Human Condition_ is a work that has proved both timeless and perpetually timely. Hannah Arendt was one of the leading social theorists in the United States. Her _Lectures on Kant's Political Philosophy_ and _Love and Saint Augustine_ are also published by the University of Chicago Press. (shrink)

Hannah Arendt’s exposition of the human condition provides the basic framework for a theoretical perspective on close relationships. According to Arendt, the human condition is comprised of three modes of activity: labor, work, and action. Labor is need-driven behavior, work concerns goal-directed activity and the fabrication of things, and action involves the mutual validation of unique individuals. Within this framework, the gift is the means by which relational ties are made concrete. I propose a model of (...) gift-giving organized by two axes: whether or not the partner is singularized by the gift and whether or not the gift is given with an expectation of a return gift. I then apply this model to the three modes of the human condition. (shrink)

On Human Conduct is composed of three connected essays. Each has its own concern: the first with theoretical understanding, and with human conduct in general; the second with an ideal mode of human relationship which the author has called civil association; and the third with that ambiguous, historic association commonly called a modern European state. Running through the work is Professor Oakshott's belief in philosophical reflection as an adventure: the adventure of one who seeks to understand in (...) other terms what he already understands, and where the understanding is sought is a disclosure of the conditions of the understanding enjoyed and not a substitute for it. Its most appropriate expression is an essay, which, he writes, 'does not dissemble the conditionality of the conclusions it throws up and although it may enlighten it does not instruct.'. (shrink)

La reseña presenta y analiza el libro de Michael Eskin, Childhood. An essay on human condition.

ABSTRACTIn ‘Freedom of the Will and the Concept of a Person,’ Harry Frankfurt argues that a successful analysis of the concept ‘human’ must reveal something that distinguishes humans from non-human...

The Human Condition is a response to the growing disenchantment in the Western world with contemporary life. John Kekes provides rationally justified answers to questions about the meaning of life, the basis of morality, the contingencies of human lives, the prevalence of evil, the nature and extent of human responsibility, and the sources of values we prize. He offers a realistic view of the human condition that rejects both facile optimism and gloomy pessimism; acknowledges (...) that we are vulnerable to contingencies we cannot fully control; defends a humanistic understanding of our condition; recognizes that the values worth pursuing are plural, often conflicting, and that there are many reasonable conceptions of well-being. Kekes emphasizes the importance of facing the fact that man's inhumanity to man is widespread. He rejects as simple-minded both the view that human nature is basically good and that it is basically bad, and argues that our well-being depends on coping with the complex truth that human nature is basically complicated. Finally, Kekes argues that the scheme of things is indifferent to our fortunes and that we can rely only on our own resources to make what we can of our lives. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

We argue that (1) a purported example of an infinite inference we humans can actually perform admits a faithful, finitary description, and (2) infinite inference contravenes any view which does not grant our minds uncomputable powers. These arguments block the strategy, dating back to Carnap's Logical Syntax of Language, of using infinitary inference rules to secure the determinacy of arithmetical truth on conventionalist grounds.

Conversation, talk, the communicative process, can be compared to the symphonic play of a piece of music. There is an orchestra, the musicians, whose tones and notes must flow, complement and harmonize with one another. There is a main theme. As the music builds variations on the theme are played, and new themes and subthemes are introduced. The basinett responds to the strings, the bass emphasizes the mood of the violin, while the french horn adds a new melody. The subtlety (...) and evenness of flow, the seeming simplicity of the piece, the rich interleaving of subdevelopments, variations, tangents, and recapitulations, are what make a piece of music great.Coherent communication is much the same. It looks easy. It flows. It seems effortless. In reality, of course, it is rich and complex, in both form and content. As in music, conversants may begin a conversation slowly, tentatively, with some simple (or complex) topic in mind. Slowly the momentum builds, the connections surface, and the themes become defined. As in music, these themes are then elaborated upon in various ways. Topic elaborations often spawn their own variations. New themes and subthemes are introduced. All the while, as in music, original themes reappear and are interwoven with the new ones. The twists and turns of the conversation seem to occur effortlessly.In music, there is usually one composer in control of which instrument plays next; one composer who is in charge of what the instrument will say. There is a single coordinator of theme introductions, developments, variations, and interweavings. The composition is done off-line and usually involves editing and re-editing for flaws. In discourse, however, we have on-line development with multiple parties responsible for flow coordination. All parties have to organize their own turns, themes, and variations, in addition to their being able to integrate these items into co-conversants'.In their book, “Understanding Computers and Cognition,” Winograd and Flores (1987) cite the following from Gadamer (Winograd and Flores, 1987, p. 32):It is not so much our judgments as it is our prejudices that constitute our being ... the historicity of our existence entails that prejudices, in the literal sense of the word, constitute the initial directedness of our whole ability to experience. Prejudices are biases of our openness to the world. They are simply conditions whereby we experience something — whereby what we encounter says something to us. (Gadamer, Philosophical Hermeneutics, 1976, p. 9). (shrink)

Hannah Arendt is widely regarded as a political theorist who sought to rescue politics from ‘society’, and political theory from the social sciences. This conventional view has had the effect of distracting attention from many of Arendt’s most important insights concerning the constitution of ‘society’ and the significance of the social sciences. In this article, I argue that Hannah Arendt’s distinctions between labor, work and action, as these are discussed in The Human Condition and elsewhere, are best understood (...) as a set of claims about the fundamental structures of human societies. Understanding Arendt in this way introduces interesting parallels between Arendt’s work and both classical and contemporary sociology. From this I draw a number of conclusions concerning Arendt’s conception of ‘society’, and extend these insights into two contemporary debates within contemporary theoretical sociology: the need for a differentiated ontology of the social world, and the changing role that novel forms of knowledge play in contemporary society as major sources of social change and order. (shrink)

Following his retirement from teaching in 1972 J. M. Bocheński entered into a creative phase of his scholarly career characterized by, among other things, a marked shift to ‘naturalism’ to the detriment of philosophical ‘speculation’ of any kind (comprising much of classical metaphysics, ‘world views’, ‘ideologies, ‘moralizing’—for him so many nefarious ‘superstitions’). During this period he examined issues which bear on the human condition in a way that was at once constructive and critical—constructive by virtue of the logical (...) analyses of such concepts as authority, critical by dint of his refusal to take seriously any so-called ‘anthropocentric’/‘humanist’ thinking attempting to secure a special standing for ‘Man’ in the world. These attitudes come to expression in his last work devoted to worldly wisdom, the practical rationality required to ensure a long and happy life. I examine, first, some of the background of this work, with an eye to the naturalism it is based on, provide a schematic overview of the contents of the study, and concentrate on a couple of key issues related to the question as Bocheński understood it. The salient issue concerns his insistence that whatever else it may be the wisdom that is conducive to the long and happy life is not to be confused, conceptually, with any sort of morality: worldly wisdom and the categorical commands of morality stand in no essential relation to each other and may indeed be contradictory … to the detriment of morality, according to Bocheński. Throughout, but especially in the concluding section, I express some doubts about the cogency of this position. (shrink)