From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an (...) opera, and Pablo Picasso turned his cubist paintings into costumes for Parade. Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tiresias ) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung ). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations. Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University. (shrink)

Strawson's view on punishment has been either neglected or recoiled from in contemporary scholarship on ‘Freedom and Resentment’ (FR). Strawson's alleged retributivism has made his view suspect and troublesome. In this article, we first argue, against the mainstream, that the punishment passage is an indispensable part of the main argument in FR (section 1) and elucidate in what sense Strawson can be called ‘a retributivist’ (section 2). We then elaborate our own hypothesis of symbolic retribution to explain the continuum between (...) moral reactive attitudes and punishment that Strawson only adumbrates (section 3). After this justification of the punitive response to wrongdoing, we compare and contrast our specific kind of retributivist hypothesis with other positions in the so-called ‘new retributivism’ (section 4). Our hypothesis differs from other subvarieties of expressive retributivism in putting centre stage the idea of punishment as taking up a reverential stance towards the victim. (shrink)

Literary controversies are instructive both in themselves and by illuminating the historical contexts that surrounded them. The Zurich dispute between Johann J. Bottmer, Johann J. Breitinger, and J...

This document collects discussion and commentary on issues raised in the workshop by its participants. Contributors are: Greg Frost-Arnold, David Harker, P. D. Magnus, John Manchak, John D. Norton, J. Brian Pitts, Kyle Stanford, Dana Tulodziecki.

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book (...) demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation. (shrink)

Premodern Buddhists are sometimes characterized as veritable "mind scientists" whose insights anticipate modern research on the brain and mind. Aiming to complicate this story, Dan Arnold confronts a significant obstacle to popular attempts at harmonizing classical Buddhist and modern scientific thought: since most Indian Buddhists held that the mental continuum is uninterrupted by death, they would have no truck with the idea that everything about the mental can be explained in terms of brain events. Nevertheless, a predominant stream of (...) Indian Buddhist thought, associated with the seventh-century thinker Dharmakirti, turns out to be vulnerable to arguments modern philosophers have leveled against physicalism. By characterizing the philosophical problems commonly faced by Dharmakirti and contemporary philosophers such as Jerry Fodor and Daniel Dennett, Arnold seeks to advance an understanding of both first-millennium Indian arguments and contemporary debates on the philosophy of mind. The issues center on what modern philosophers have called _intentionality_--the fact that the mind can be about other things. Tracing an account of intentionality through Kant, Wilfrid Sellars, and John McDowell, Arnold argues that intentionality cannot, in principle, be explained in causal terms. Elaborating some of Dharmakirti's central commitments, Arnold shows that despite his concern to refute physicalism, Dharmakirti's causal explanations of the mental mean that modern arguments from intentionality cut as much against his project as they do against physicalist philosophies of mind. This is evident in the arguments of some of Dharmakirti's contemporaneous Indian critics, whose critiques exemplify the same logic as modern arguments from intentionality. Elaborating these various strands of thought, Arnold shows that seemingly arcane arguments among first-millennium Indian thinkers can illuminate matters still very much at the heart of contemporary philosophy. (shrink)

In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and it (...) serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between the two composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a shared epistemological base underlying the external dissimilarities of the two composers' style and language. (shrink)

"Arnold Geulincx (1624-1669) est un philosophe flamand, connu en son temps pour ses enseignements dans les universités de Louvain puis de Leyde. Sa pensée, occasionnaliste, est explicitement située dans la ligne tracée par Descartes, mais présente la singularité d'associer une priorité donnée à l'éthique et la thèse d'une influence minimale de l'action humaine dans le monde. Dans son oeuvre dont la notoriété est essentiellement due à une Éthique publiée en 1665 en latin puis traduite par l'auteur en flamand, la (...) Métaphysique, objet quant à elle d'une publication posthume en 1691, occupe une place décisive : Geulincx y développe une métaphysique du sujet originale, centrée sur l'expérience d'une humanité saisie dans ses limites."--Page 4 de la couverture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Back to the Future:Obtaining Organs from Non-Heart-Beating CadaversRobert M. Arnold (bio) and Stuart J. Youngner (bio)Organ Transplantation requires viable donor organs. This simple fact has become the Achilles' heel of transplantation programs. Progress in immunology and transplant surgery has outstripped the supply of available organs. Between 1988 and 1991, for example, the number of transplant candidates on waiting lists increased by about 55 percent, while the number of (...) donors increased only about 16 percent.1 By the end of March 1993, more than 30,000 potential recipients awaited transplantation (United Network for Organ Sharing Database (UNOS) 1993). Every day six of these patients die prior to receiving a heart or liver transplant, while patients needing kidney transplants must tolerate a lower quality of life on dialysis (Grenvik 1992; Evans, Orians, and Ascher 1992).This scarcity is likely to get worse. As transplantation becomes more successful, it is being offered to sicker and older patients. Attempts to transplant other solid organs, such as small bowel and pancreas, will only fuel the demand for donors. However, the current source of organs is unlikely to grow. Most organs come from patients who have been declared dead by neurologic criteria (commonly referred to as "brain dead" or heart-beating cadaver donors (HBCDs) because their hearts are beating at the time of procurement). Estimates of the potential pool of HBCDs have been revised downward from 20,000-27,000 to roughly 10,000-12,000 (Nathan et al. 1991). Improvements in automobile safety and handgun legislation will likely lead to further reductions. Moreover, the rate of procurement from HBCDs has remained relatively flat despite extensive public awareness campaigns and legislation requiring hospitals to routinely request donation from families of dead patients (Caplan et al. 1992).If organ transplantation is going to continue to flourish, alternative [End Page 103] sources of organs must be found. Recently the University of Pittsburgh Medical Center (UPMC) proposed procuring organs from patients who have been declared dead by traditional cardiopulmonary rather than brain-oriented criteria after they or their families have decided to forgo life-sustaining treatment—hereafter referred to as the Pittsburgh protocol (UPMC Policy 1993). These patients are typically referred to as non-heart-beating cadaver donors (NHBCDs) because their hearts are no longer beating at the time of organ procurement.Although NHBCDs were a major source of transplantable kidneys prior to the institution of death by neurologic criteria, their usefulness was limited by "warm ischemia time." This term refers to the injury to tissues that occurs when the blood supply is interrupted and before the organs are cooled and reperfused. Under the Pittsburgh protocol, therapy is withdrawn in the operating room where a waiting surgical team removes organs immediately after death is declared. By controlling the place and time of death, it has been possible to minimize warm ischemia time and thus solve the technical problems previously associated with procurement from NHBCDs.The potential contribution of NHBCD organs is significant. Nathan (1992), using data from Delaware Valley Transplant Program, concludes that the use of severely brain injured, but not "brain dead" patients, would increase the donor pool by 20-25 percent. Moreover, unpublished data from the Pittsburgh organ procurement organization, the Center for Organ Recovery and Education (CORE), suggests that these organs, particularly kidneys, function as well as those procured from HBCDs (Broznick 1993).This volume is devoted to the ethical, psychosocial, and public policy implications of procuring organs from non-heart-beating cadaver donors after a discussion to forgo life-sustaining treatment. The genesis of this volume was a project in which we invited leading experts in transplantation, ethics, and public policy to use the Pittsburgh protocol as a starting point for exploring a broad range of issues associated with attempts to procure organs from NHBCDs. The issues raised by NHBCDs turned out to have important implications about the fundamental conceptual and moral assumptions underlying organ procurement.Although each of the papers in this volume can be read separately, we intend the volume to be read as a whole. Many of the latter pieces on the ethical implications of the policy are best understood in light of the earlier background papers... (shrink)

During the last several years, we have witnessed a reopening of questions concerning National Socialism whose full scope and implications have yet to be determined. The Historikerstreit has provoked new discussions of the problem of the specificity or uniqueness of Auschwitz. While raising general methodological issues about the nature of historical explanation and understanding, the Historikerstreit has also revolved around specific questions concerning the role of moral concepts and memory in assessing National Socialism.1 Disclosures about Paul de Man’s wartime writings (...) and further examination of Martin Heidegger’s involvement with National Socialism have led to broader consideration of the relations among philosophy, theory, and politics, and have forced us to rethink the problem of intellectual responsibility with renewed urgency.2 These and related topics were at the center of a major international conference, “Nazism and the Final Solution,” organized by Saul Friedländer last April, which took as its organizing theme the limits of ethical, aesthetic, and historical representation of the Final Solution.3In light of these continuing discussions, we are publishing two remarkable essays written during the early years of National Socialism. To the often-posed challenge, how could one be expected to respond lucidly to Nazism in the early 1930s?, these essays by Robert Musil and Emmanuel Levinas constitute, by the sheer power of their insights, decisive answers. Although significantly different in approach, these essays show not only that one could recognize the reality of National Socialism as it was coming to power, but indicate further that analyses of permanent value could be formulated virtually from the beginning. Musil and Levinas serve to remind us concretely of the capabilities of the human mind and of its responsibilities—capabilities and responsibilities that even the most severe political circumstances need not overwhelm. 1. For documents from and discussion of the Historikstreit, see the special issue of New German Critique 44 .2. On Paul de Man, see Critical Inquiry 14 : 590-652, and Critical Inquiry 15 : 704-44, 764-873. On Martin Heidegger, see Critical Inquiry 15 : 407-88.3. The proceedings of this conference are forthcoming. Arnold I. Davidson, executive editor of Critical Inquiry and associate professor of philosophy at the University of Chicago, is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)

Enracinée dans la prière, fondée sur la Bible seule, centrée sur le Christ, et insistant sur la lutte contre le Malin, sur l'engagement éthique et sur la proximité du Royaume de Dieu, la théologie de Martin Luther, soutenue par le courage et l'humour d'un écrivain hors du commun, rencontre maintes préoccupations théologiques actuelles ; mais elle interpelle aussi des théologies souvent embarrassées par le sola scriptura et le solus Christus, promptes à faire de l'homme une victime et limitant l'eschatologie à (...) l'avènement du Christ dans l'intériorité du croyant. De la théologie contemporaine, elle peut apprendre que toute exégèse est située, que l'assertion n'est pas le seul registre du discours théologique, que le dialogue religieux ne se réduit pas à l'anathème et que l'action de Dieu dans l'histoire n'est pas univoque. Martin Luther's theology is rooted in prayer, founded only on the Bible, and centred on Christ ; it lays stress on the struggle against the Devil, on moral commitment, and on the proximity of God's Kingdom ; it is kept up by the courage and humour of an extraordinary writer. As such, it meets with many modern theological preoccupations, but it also challenges theologies that are often embarrassed by the sola scriptura and the solus Christus, theologies that are ready to victimize man and limit eschatology to the coming of Christ into the believer's inner self. From contemporaneous theology it can learn that each exegesis has its context, that doing theology does not only consist of uttering statements, that the religious dialogue does not confine itself to the anathema, and that God's acts in history are not univocal. (shrink)

‘The independence of auditors is primarily an issue of perception and communication’. The author is Professor of Auditing at Maastricht Accounting and Auditing Research Center University of Limburg, and University of Amsterdam; and a partner of Coopers & Lybrand Dijker Van Dien Accountants, Amsterdam. He wishes to express his thanks to Gijs Bak, Tony Bingham, John Hegarty, Wim Moleveld, David Pimm and Arno de Schepper for their valuable comments.

Authors, reviewers, and editors have critical responsibilities to ensure the validity and utility of published biomedical research.

This volume is a Festschrift dedicated to Charles Kahn comprised of more than 20 papers presented at the conference "Presocratics and Plato: Festschrift Symposium in Honor of Charles Kahn", 3-7 June 2009. The conference was held at the European Cultural Center of Delphi, Greece, and was organized and sponsored by the HYELE Institute for Comparative Studies and Parmenides Publishing, with endorsement from the International Plato Society, and the Dean of the School of Arts and Sciences, University of Pennsylvania. Contributors: (...) Julia Annas - University of Arizona; Sarah Broadie - University of St. Andrews; Lesley Brown - University of Oxford; Tomás Calvo-Martínez - Universidad Complutense de Madrid; Diskin Clay - Duke University; John M. Dillon - Trinity College, Dublin; Dorothea Frede - Humbolt University, Berlin; Arnold Hermann - HYELE Institute for Comparative Studies; Carl A. Huffman - DePauw University; Enrique Hülsz Piccone - Universidad Nacional Autonoma de Mexico; D.M. Hutchinson - St. Olaf College; Paul Kalligas - National and Kapodistrian University, Athens; Vassilis Karasmanis - National Technical University, Athens; Aryeh Kosman - Haverford College; Anthony A. Long - University of California, Berkeley; Richard McKirahan - Pomona College; Susan Sauvé Meyer - University of Pennsylvania; Alexander P.D. Mourelatos - University of Texas at Austin; Satoshi Ogihara - Tohoku University, Japan; Richard Patterson - Emory University; Christopher J. Rowe - Durham University; David Sedley - University of Cambridge; Richard Sorabji - University of Oxford. (shrink)

Proceedings of the Pittsburgh Workshop in History and Philosophy of Biology, Center for Philosophy of Science, University of Pittsburgh, March 23-24 2001 Session 2: Female Orgasms and Evolutionary Theory.

Objective: To determine the usefulness of Q methodology to locate and describe shared subjective influences on clinical decision making among participant physicians using hypothetical cases containing common ethical issues. Design: Qualitative study using by-person factor analysis of subjective Q sort data matrix. Setting: University medical center. Participants: Convenience sample of internal medicine attending physicians and house staff (n = 35) at one midwestern academic health sciences center. Interventions: Presented with four hypothetical cases involving urgent decision making near the (...) end of life, participants selected one of three specific clinical actions offered for each case. Immediately afterward and while considering their decision, each respondent sorted twenty-five subjective self-referent items in terms of the influence of each statement on their decision-making process. By-person factor analysis, where participants are defined as variates, yielded information about the attitudinal background the physicians brought to their consideration of each hypothetical case. We performed a second-order factor analysis on all of the subjective viewpoints to determine if a smaller core of shared attitudes existed across some or all of the four case vignettes. Factor scores for each item and post-sort comments from interviews conducted individually with each respondent guided the interpretation of ethical perspective used by these respondents in making clinical decisions about the cases. Measurements and Main Results: Second-order factor analysis on seventeen viewpoints used by physicians in the four hypothetical urgent decision cases revealed three moderately correlated (r 2 < 40%) subjective core attitudinal guides used broadly among all the cases and among sixteen of the seventeen original factors. Across all the cases, our participants were guided in general by: (1) patient-focused beneficence, (2) a patient- and surrogate-focused perspective that includes risk avoidance, and (3) best interest of the patient guided by ethical values. Economic impact on the physician, expediency in resolution of the situation, and the expense of medical treatment were not found to be influential determinants in this study. Conclusions: Q sorting and by-person factor analysis are useful qualitative methodological tools to study the complex structure of subjective attitudes that influence physicians in making medical decisions. This study revealed the subjective viewpoints used by our physician participants as they made ethically challenging treatment decisions. The three second-order factors identified here are grounded in current bioethical values as well as the personal traits of physicians. The participants' decision methods appear to resemble casuistry more than principle-based decision making. Generalizability of results will require further studies. (shrink)

We discuss theoretical topics in personality theory and in the methodology of personality measurement, and present personality tests that were developed in the Center for Recruitment and Selection in the Belgian Army.

One way of increasing the supply of vital organs without violating the dead donor rule is to declare death on cardiopulmonary criteria after withdrawing life support. The question then is how quickly death may be declared.

For more than sixty years, surgeons have used bioethical strategies to promote patient self‐determination, many of these now collectively described as “informed consent.” Yet the core framework—understanding, risks, benefits, and alternatives—fails to support patients in deliberation about treatment. We find that surgeons translate this framework into an overly complicated technical explanation of disease and treatment and an overly simplified narrative that surgery will “fix” the problem. They omit critical information about the goals and downsides of surgery and present untenable options (...) as a matter of patient choice. We propose a novel framework called “better conversations.” Herein, surgeons provide context about clinical norms, establish the goals of surgery, and comprehensively delineate the downsides of surgery to generate a deliberative space for patients to consider whether surgery is right for them. This paradigm shift meets the standards for informed consent, supports deliberation, and allows patients to anticipate and prepare for the experience of treatment. (shrink)

The article reconstructs main assumptions and the theoretical context of Arnold Gehlen’s conception of institution. I argue that this conception is mainly a theory of action. At its centre Gehlen sets not so much specific institutions but rather specific forms of human activity that bring to life the over-individual normative structures. He describes them by means of a series of categories which, in his opinion, have a universal character. We do not find any genealogical analyzes here, but only a (...) constellation of concepts deduced a priori, referring to empirical facts. (shrink)

Perhaps the question “What is philosophy?” can only be posed late in life, when old age has come, and with it the time to speak in concrete terms. It is a question one poses when one no longer has anything to ask for, but its consequences can be considerable. One was asking the question before, one never ceased asking it, but it was too artificial, too abstract; one expounded and dominated the question, more than being grabbed by it. There are (...) cases in which old age bestows not an eternal youth, but on the contrary a sovereign freedom, a pure necessity where one enjoys a moment of grace between life and death, and where all the parts of the machine combine to dispatch into the future a trait that traverses the ages: Turner, Monet, Matisse. The elderly Turner acquired or conquered the right to lead painting down a deserted path from which there was no return, and that was no longer distinguishable from a final question. In the same way, in philosophy, Kant’s Critique of Judgment is a work of old age, a wild work from which descendants will never cease to flow.We cannot lay claim to such a status. The time has simply come for us to ask what philosophy is. And we have never ceased to do this in the past, and we already had the response, which has not varied: philosophy is the art of forming, inventing, and fabricating concepts. But it was not only necessary for the response to take note of the question; it also had to determine a time, an occasion, the circumstances, the landscapes and personae, the conditions and unknowns of the question. One had to be able to pose the question “between friends” as a confidence or a trust, or else, faced with an enemy, as a challenge, and at the same time one had to reach that moment, between dog and wolf, when one mistrusts even the friend. Gilles Deleuze was professor of philosophy at the University of Paris VIII, Vincennes-St.-Denis, until his retirement in 1987. Among his books translated into English are the two-volume Capitalism and Schizophrenia , the two-volume Cinema , The Logic of Sense , and Expressionism in Philosophy: Spinoza . Daniel W. Smith is a doctoral candidate in philosophy at the University of Chicago. He is at work on a study of the philosophy of Deleuze, and is translating Deleuze’s Francis Bacon: Logique de la sensation. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy at the University of Chicago and is currently Marta Sutton Weeks Fellow at the Stanford Humanities Center. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary (...) music and the music of the future. (shrink)

Book reviewed in this article: The Making of Rehabilitation. By Glenn Gritzer and Arnold Arluke.

This contribution to the Common Knowledge symposium “Fuzzy Studies” considers how the ultramodernist aesthetics of Central Europe has related to and reacted against the region's political history and cartography. Central Europe has been a rich source of “soluble” realities that can be observed as they emerge, mature, and rapidly decay. Central European modernism, represented here by Adolf Loos in architecture and by Arnold Schoenberg and Leoš Janáček in music, experimented with blurry regions between presence and absence, light and shadow, (...) sound and silence. Loos disrupted the logic of architecture, while Schoenberg and Janáček nearly dissolved the acoustic paradigm of sound. This essay argues that the curious positioning of Central Europe, with its frequently changing borders and national entities, conduced both to positive experiments in cultural vagueness and to a corrosive reaction against existing and potential identities, parameters, distinctions, foci, and logics. (shrink)

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

This is a remarkable book about a man (perhaps the most important and original philosopher of our age), a society (the corrupt Austro-Hungarian Empire on the eve of dissolution), and a city (Vienna, with its fin-de siecle gaiety and corrosive melancholy). The central figure in this study of a crumbling society that gave birth to the modern world is Wittgenstein, the brilliant and gifted young thinker. With others, including Freud, Viktor Adler, and Arnold Schoenberg, he forged his ideas in (...) a classical revolt against the stuffy, doomed, and moralistic lives of the old regime. As a portrait of Wittgenstein, the book is superbly realized; it is even better as a portrait of the age, with dazzling and unusual parallels to our own confused society. Allan Janik and Stephen Toulmin have acted on a striking premise: an understanding of prewar Vienna, Wittgenstein s native city, will make it easier to comprehend both his work and our own problems .This is an independent work containing much that is challenging, new, and useful. New York Times Book Review.". (shrink)

The fourth chapter analyses the establishment of Cartesianism at the University of Leiden in 1650s and 1660s. This was carried out by De Raey, who provided a defence and teaching of Descartes’s physics in his Clavis philosophiae naturalis (1654), although not based on Descartes’s metaphysics: physical principles, indeed, are presented by De Raey as self-evident truths, and consistent with Aristotle’s theory of scientia or universal and necessary knowledge. This was not the only peculiar characteristic of Leiden Cartesianism, as De Raey (...) also provided a differentiation between philosophical and practical knowledge (including medicine and revealed theology), as these are based on different sources of knowledge, namely, intellect and sensory experience. In the hands of Christopher Wittich, the separation thesis became the standard in conceiving the place of Cartesianism in the university, which was confined to natural philosophy in 1650s and strictly secluded from revealed theology. At the same time, the need to develop a moral philosophy consistent with the Reformed creed became the centre of the debate between Revius and Heidanus, a Reformed theologian who saw in Cartesianism a philosophy more consistent with Calvinism than Scholasticism. Accordingly, he was eager to support the appointment in Leiden of Arnold Geulincx, who was developing a philosophical ethics independent of revealed theology but consistent with the Reformed creed. For this purpose, besides the relation of body, soul and world, Geulincx considered those relations of man, world, and God from which moral duties follow. Accordingly, he provided his ethics with a foundation in rational theology. In turn, this foundation entails a reflection on the type of knowledge that constitutes physics and determines its very method. Given the inscrutability of God’s reasons in creating the world, Geulincx could claim that physics has to proceed by hypotheses based on experience rather than by a deduction of natural laws from metaphysical principles. In this way, the epistemic consequences of his foundational theory refuelled a reflection on the method of natural philosophy itself, making his foundation a sample of the transformation of Cartesian foundationalism – dominated by Descartes’s metaphysical physics – into a reflection on physics itself. In other words, Geulincx provided, together with De Raey, a de-metaphysicisation of physics. (shrink)

In order to show how Michel Serres’s work diverges from traditional Western philosophy, this article explores a multitude of texts and contexts against which Serres might be better understood. Most starkly, Serres’s work diverges from the eighteenth and nineteenth century Germanic tradition of Bildung, meaning cultivation through introspection, apolitical thought and character building through education. Serres’s moves away from ego-centric thought to eco-centric thought more akin to what Gregory Bateson called an ecology of mind. That is, Serres’s integrates—in a more (...) ecological fashion—poetry, science, the arts, ecology and politics to raise philosophical questions. Further, this author suggests that Serres’s reference to the nineteenth century poem Pierrot Lunaire ) serves as a trope for Serres’s over-arching philosophy. Pierrot is an artist, a sage, an outlier, a Hermes-like figure who breaks with tradition. Arnold Schoenberg’s atonal performance piece, spoken and sung, shattered the boundaries of classical music. Like Schoenberg’s work, Serres’s work, both in style and content, shatters the boundaries of traditional philosophy. Serres’s breaks open a new paradigm in philosophy. (shrink)

Adorno's philosophical writings on music are notably focused on the new, invested in positioning the challenging avant‐garde works of Schoenberg, Berg, and Webern as the modernist mainstream. Nevertheless, Adorno's relationship with this “Second Viennese School” of composers was characterized by ongoing complexities, contradictions, and dissonances. His conflicted position is theorized here on multiple levels, considering not only Adorno's mature philosophy of the New Music, but his own musical‐creative output, and his relationships with the members of the Second Viennese School; a (...) group he was intimately connected to and distinct from at once. As his composition teacher, Berg was particularly influential in shaping Adorno's compositional activity and stance as simultaneously a champion and critic of Schoenberg. Adorno attempted to apply Schoenberg's twelve‐tone technique within his own compositions, recognizing its promise, yet from early on he had growing critical and compositional reservations concerning the method's restrictions. Though Adorno's writings from the 1930s defend Schoenberg and the twelve‐tone technique, by the end of the following decade, his Philosophy of New Music (2006 [1949]) expounds his critique of the method for its eschewal of the freedom of Expressionism. The impact of the Philosophy of New Music in the wake of the Second World War was both greater than and different from what Adorno could have expected. His message that the twelve‐tone method came at the cost of expressivity was largely missed by the subsequent generation of avant‐garde composers, the “Darmstadt School,” who understood the book as philosophical and theoretical basis for their extended exploration of music's serial systematization. (shrink)

Most commentators have underplayed the philosophical importance of Wittgenstein's multifarious remarks on music, which are scattered throughout his Nachlass. In this dissertation I spell out the extent and depth of Wittgenstein's engagement with certain problems that are regarded today as central to the field of the aesthetics of music, such as musical temporality, expression and understanding. By considering musical expression in its relation to aspect-perception, I argue that Wittgenstein understands music in terms of a highly evolved, vertically complex physiognomic language-game, (...) in which fine shades of behavior are logically (semantically) connected with the musical experiences themselves. A musical passage conjoins the multifarious language games that are presupposed in it and the emerging gesture that ultimately insinuates itself into our life. Wittgenstein conceives music as a mode of expression, a path leading from the world of our thoughts and feelings, which in itself is not yet music, toward a gesture which is no longer music, but which belongs to the world of thoughts and feelings. A melody can be located at this crossroads of music, language and the world, and is understood in reciprocal action with language. Musical gesture insinuates itself into our life, for, like a human face, it speaks of and reflects our "knowledge of mankind," and it is ultimately understood only against the background of "the bustle of life," as Wittgenstein calls it. I also argue that Wittgenstein's discussion of musical understanding suggests an important model, albeit not an exclusive one, for understanding language. The musicality of language points first and foremost at the way we use words in the vertically complex language game of expression, and at the intransitive understanding that goes with it. Throughout the dissertation I address a number of unique topics that have rarely, if ever, been investigated in this context. These include inter alia Wittgenstein's 1912-1913 experiments on the perception of rhythm, Oswald Spengler's influence on Wittgenstein's remarks on music, Wittgenstein's reaction to Heinrich Schenker's view of music, and the complex, elusive relation between Wittgenstein's later philosophical views and Arnold Schoenberg's dodecaphonic music. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function, unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein (...) back to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies. (shrink)

The ambition in what follows is to begin a consideration of the lessons that might be learnt from a reassessment of twentieth-century avant-gardist practice within the domain of musical composition. The goal here will not be an evaluation of the compositional outputs of this period but, rather, some reflections on the place and role of teaching within and among the musicians themselves, remembering that many of them gained a considerable reputation as teachers: Arnold Schoenberg, Olivier Messiaen, Karlheinz Stockhausen, and (...) John Cage being the pre-eminent examples.And, as an aside, before too quickly assuming that the radical newness and futurism associated with much avant-gardism is somehow at odds with our... (shrink)

The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s theory of notation, (...) that soon became the crucial aspect of his theory of reproduction. Given the shortcomings of Adorno’s theory, which in the end did not achieve its goals, the article proposes to capitalize on his terminology while at the same time rethinking his framework in the light of recent musicological paradigms for the study of musical performance. On the whole, the article shows that it was Adorno’s philosophical assumptions – in particular the theses of music’s non-intentionality and of its non-similarity to language – that prevented him from convincingly theorizing musical performance, and suggests an alternative framework for future research. (shrink)

The twentieth century was a time of dramatic change in the structure, language, and aesthetic purpose of music. Numerous factors came together that led the musical avant-garde toward new artistic paths such as atonality and aleatoricism (use of chance elements) in music, and a shift in the idea of what music should portray away from beauty toward truth, or from idealized to actualized. If the arts are a reflection of the philosophical and aesthetic spirit of the times, then an examination (...) of prominent philosophical and aesthetic regimes of the time should reveal changes that facilitated the aesthetic and artistic innovations of the era. This article will examine the relationship between the philosophical and aesthetic writings of Henri Bergson and the affinities, and in some cases influences, they had on the development of two of the major musical innovations of the twentieth century. Specifically, Arnold Schoenberg's development of atonal compositional technique results partially from Bergson's focus on knowledge as a conveyor of truth, and John Cage's cultivation of aleatoricism as a compositional process arises out of Bergson's critique of nothingness as stated in Creative Evolution. (shrink)

In the early twentieth century Arnold Schoenberg introduced into music an atonal style of polyphonic composition. The artistic success of his and his colleagues' oeuvre insured the wide diffusion of his technique of the twelve tone series. In the period immediately following World War II, the serial technique exercised a dominant influence over advanced musical practice. However, in the decades that followed, composers and theorists alike began to entertain doubts about the relation between the derivation of a composition from (...) a series and its audible musical structure. A reconsideration of the theory of atonal polyphony must rest on rigorous analyses both of the structure of the musical materials, and of the semiotic relation between score and performance, which is constitutive of musical works in the western common practice tradition. ;The aim of this dissertation is to advance the project of founding a reconsideration of the theory of atonal polyphony by constructing the concrete entities needed to provide a phenomenalistic semantic framework for the semiotics of contrapuntal theory. The starting point is Nelson Goodman's logical constructionalism, and, in particular, his theory of signs of Languages of Art, and his phenomenalist system of The Structure of Appearance. Chapter One is a contribution to phenomenalist theory. It introduces a systematic notion of the maximal phenomenal continuity that explicates the concept of the sense content, as it occurs in natural language philosophical discourse. Chapter Two begins with a discussion of the idealizations that are appropriate to a semantics of contrapuntal theory. This discussion results in a systematic notion of the primitive concrete entity of contrapuntal theory, the note, which is shown to be a species of sense content, as defined in Chapter One. By aggregating notes, the construction subsumes under the systematic notion of the sub-polyphony both whole compound polyphonic occurrences and their musically significant melodic and harmonic sub-divisions. The resulting explication of the concrete notions of contrapuntal theory both connects phenomenalist theory with a familiar realm of human experience, and provides a basis for a systematic examination and revision of contrapuntal theory. (shrink)