"In ihrer Untersuchung entwickelt Linke eine zeitgemäße Theorie der musikalischen Form aus einer musikphilosophischen und musikanalytischen Perspektive ausgehend von posttonaler Musik nach 1950. Die hier entwickelte musikphilosophische Theorie versteht sich als eine Meta- oder Rahmentheorie für musikalische Analyse von neuer Musik. Im Zentrum der Untersuchung steht eine grundlegende Reflexion über das Verhältnis von musikalischer Form in neuer Musik und ästhetischer Erfahrung: Musikalische Form entsteht in der Interaktion des ästhetisch erfahrenden Subjekts mit dem ästhetischen Objekt im Prozess der ästhetischen Erfahrung und (...) ist daher weder als bloße Objekteigenschaft des musikalischen Phänomens noch als reine Erfahrungskategorie zu verstehen. Zentraler Anknüpfungspunkt ist sowohl in methodischer als auch in inhaltlicher Hinsicht Theodor W. Adornos Modell der Konstellation bzw. des konstellativen Denkens, welches musikphilosophische, erkenntnistheoretische und ethische Dimensionen miteinander in Verbindung bringt. Der Analyse-Teil zu Helmut Lachenmanns Orchesterkomposition "Schreiben. Musik für Orchester" (2002-05) stellt ein exemplarisches musikanalytisches Komplement zur hier entwickelten musikphilosophischen Theorie dar"--Back cover. (shrink)

How do artists share, translate, reveal their imagination by using different semiotic systems; how can the audience partake in this imagination receiving only images, words, notation, sounds? Starting from artwork of the novelist Italo Calvino and the composers Helmut Lachenmann and Gyorgy Kurtag, this article addresses the relation among imagination, perception, remembrance and expression. The ‘images’ used, be they visual, verbal, auditory or haptic, are much more than images. They concentrate in themselves layers of subjective and intersubjective perceptual, (...) cognitive and emotive experiences. I will argue that imagination relies upon sensory fluidity. This allows us (1) to integrate sensorial experiences from different perceptual origins — synaesthesia, (2) to link past, present and future by way of sensorial and embodied patterns of remembrance — embodied sedimentation, and (3) to share intersubjective patterns of affect and effect, bridging idiosyncratic and universal human experiences. (shrink)

A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and (...) language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself”—not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann. (shrink)

RESUMO O ensaio “Vers une musique informelle” é uma das mais conhecidas contribuições da reflexão musical de Adorno, certamente um dos maiores legados de sua filosofia da música. Este artigo procura, em um primeiro momento, especificar o sentido crítico da contribuição conceitual de Adorno, que visava à superação dos impasses e da alternativa entre pensamento motívico-temático e pensamento serial nas práticas composicionais de época. Em seguida, descreve a intenção propositiva de Adorno ao encaminhar uma “teoria material das formas”, teoria que, (...) na realidade, havia sido concretizada na monografia sobre Mahler, publicada no ano anterior ao ensaio. Por fim, busca evidenciar a atualidade do conceito de música informal, questionando, por um lado, a leitura de Fredric Jameson e, por outro, examinando brevemente os procedimentos de dois compositores contemporâneos cujo teor remete ao conceito adorniano: Helmut Lachenmann e Wolfgang Rihm. ABSTRACT Adorno’s essay “Vers une musique informelle” is one of the most well-known contributions of his musical thought and also considered one of the most significant legacies of his philosophy of music. Initially, this article intends to specify the critical sense of Adorno’s conceptual contribution, which aimed the overcoming of the avant-garde compositional stalemate and the alternative between motivic-thematic thought and serialistic thought, at the time. Then, it describes the intention put forward by Adorno in his “material theory of forms”, a theory that had been fully developed in the monograph on Mahler, published just one year before the essay. Finally, the article tries to show some of the contemporary implications of the concept of informal music, by questioning, on the one hand, Fredric Jameson’s interpretation of the concept, and, on the other hand, briefly examining the methods of two contemporary composers that seemingly set this concept in motion: Helmut Lachenmann and Wolfgang Rihm. (shrink)

El problema de la desintegración del aura, tratado inicialmente por Walter Benjamin en el último período de su filosofía y retomado por Theodor W. Adorno, ocupa un lugar central en el pensamiento de ambos autores. Pero mientras que Benjamin parece ver en la decadencia del aura ciertos aspectos liberadores, Adorno elige preservar la categoría de aura como esencial a la experiencia artística, cuestión que se encuentra conectada con el desplazamiento que, según se propondrá, opera la reflexión de Adorno de la (...) cualidad aurática al terreno específico de la música y, con ello, al ámbito de la producción, entendiendo esta cualidad como propia de la objetividad de la obra. Apoyándose en un repaso detallado del tratamiento de la categoría de aura en Benjamin y Adorno y siguiendo el traslado del problema al ámbito musical que propone Adorno, este artículo busca adentrarse en el fenómeno de la decadencia del aura en el dominio de la música a partir del análisis de una serie de obras escogidas de los compositores George Crumb, György Kurtág y Helmut Lachenmann. (shrink)

In this essay I to do three things. First, I discuss a statement from the Tractatus which says that our free will consists in our ignorance of future actions: “The freedom of the will consists in the impossibility of knowing actions that still lie in the future. We could know them only if causality were an inner necessity like that of logical inference.” (5.1362) I think this statement might well be inspired by a claim Moore made in connection with free (...) will in his 1912 book Ethics: “We can hardly ever know for certain beforehand, which choice we actually shall make”. But I think Moore’s claim in favor of free will is not convincing. Second, I discuss a question raised in Philosophical Investigations. Wittgenstein asks what remains if we “subtract” the fact that my arm goes up from the fact that I raise my arm, and he adds in brackets: “Are the kinaesthetic sensations my willing?” (621) This added reflection is a reaction to ideas put forward by William James. Wittgenstein opposes these ideas. He argues that we should not think of the will as a cause at all, kinaesthetic or not, but rather as something embedded in, and constituted by, certain contexts of learning, expectation, practice, and lack of surprise. This is a strong claim. He also returns to the question about the predictability of the future: “When people talk about the possibility of foreknowledge of the future they always forget the fact of the prediction of one’s own voluntary movements” (629). The question is whether Wittgenstein has solved, or dissolved, the problem of free will. Some think that this is the case. I doubt it is. This is the third point I wish to discuss. (shrink)

Bd. 1. Wertphilosophie und Ethik -- Bd. 2. Bathik und Ästhetik -- Bd. 3. Kulturphilosophie, Gesellschafts- und Staatslehre -- Bd. 4. Erkenntnistheorie und Ontologie -- Bd. 6. Die Enge des Bewusstseins.

The Financial Crisis in Europe puts pressure on welfare states and its tax systems as well as on considerations of social justice. In this paper, we would like to explore the status of the idea of progressive taxation and its justification (especially the ‘ability-to-pay’ principle) in times of a financial crisis. We will discuss it within a social justice framework following David Miller—using the principles of (i) need, (ii) merit, and (iii) equality. We will conclude that progressive taxation can be (...) justified in the light of these three principles, even more so in the situation of a financial crisis that undermines decent living conditions for millions. The principle of need has to be given priority even if this move violates the principles of equality and desert. (shrink)

Keine ausführliche Beschreibung für "Beiträge zur mittelassyrischen Chronologie und Geschichte" verfügbar.

Este artigo se dedica ao aparecimento do tema da vulnerabilidade, a partir do século 18, em xilogravuras cuja narrativa visual se refere ao processo de envelhecimento das pessoas em analogia com o motivo da escada ou dos degraus da vida. A ausência da consideração da deficiência como um possível atravessamento do ciclo da vida disparou o problema investigativo: Como se dá o aparecimento do tema da vulnerabilidade em xilogravuras cuja narrativa visual se refere ao motivo da escada ou dos degraus (...) da vida, acompanhada por uma narrativa religiosa? Apresenta os resultados de uma pesquisa documental exploratória, realizada nos acervos do Museu da Imagem na cidade de Epinal, França, do Museu das Culturas, na cidade de Basileia, Suíça e da Igreja Estadual de Estugarda, Alemanha, no mês de julho de 2017. Argumenta, como primeiro resultado, comparando as narrativas visuais educacionais e religiosas, que há uma modificação da narrativa visual do motivo da escada da vida e que seu aparecimento antecipa, na área da educação, mas não na área da teologia, a consideração do respeito à vulnerabilidade como condição antropológica. Como segundo resultado, mostra-se a importância da cultura visual como narrativa própria e fonte essencial para as ciências humanas, em especial, para educação e as ciências da religião, neste caso a ressignificação da vulnerabilidade humana no campo da educação inclusiva que exige um novo olhar para a condição humana. (shrink)

Der dialogphilosophische Konsens daruber, dass weder das Sein noch die Zeit umfassend begreifbar sei, zwingt zu der Einsicht, dass auch die Welt und ihre Elemente weder aus dem Sein noch aus der Zeit ableitbar sind: Die Phanomene sind kognitiv nicht greifbar. Die vorliegende Studie zur Dialogphilosophie geht dieser Dimension der Zeitlichkeit des Seins nach. Sie gliedert sich in zwei Teile: Der erste Teil widmet sich der Untersuchung der Zeitlichkeit in der Sprache, insbesondere in ihrem Niederschlag in der Grammatik. Darauf aufbauend (...) untersucht der zweite Teil die Zeitlichkeit des Sozialen. (shrink)

The book "Wer hat das Wissen in der Wissenschaft versteckt?" [Who had hidden knowledge in science?] is about the organisational character of science - "science" as understood in continental Europa as social & natural sciences. The reason for this interest is that, as it is the case with other things, human beings undertake scientific enquiries because they, as individuals, have certain interests related to the content of their activities, they want to know certain things. Then, when an activity is organised, (...) the organisation (or organisational structure) itself develops own interests and imposes them on the individuals. Soon, the individuals do not follow anymore (so much) their own interests but the interests of the organisation. This phenomenon is exemplarified by an analysis of the foreword of Wilhelm Schmid's book: "Philosophie der Lebenskunst" (1998) [Philosophy of the art of living], his habilitation at the University of Erfurt: The analysis shows how Schmid in this foreword is trying hard to present the art of living (which is first and foremost useful for the individual human person) as something which is useful for society because this is what science, represented by the academic environment in which we are socialized requires. In total, the book comprises 12 individual studies of which the analysis of the foreword of Schmid's "Philosophie der Lebenskunst" is one. The other 11 studies analyse texts by: Jeanne Marie Gagnebin, Sandra Beaufays, andreas Hütig, Carl Djerassi, Monika Wogrolly, Friedericke Hassauer, Michel Foucault, John Stuart Mill, Erich Visotschnig & Siegfried Schrotta, Gordon A. Frutschnigg, and Oliver Sacks. One important aspect of the book is the relationship between philosophy and science, analysed e.g. with the help of Gordon A. Frutschnigg's diploma theses on the diploma theses completed at the Institute of Philosophy of the University of Vienna between 2005 and 2007: Can philosophy, which primarily serves for the orientation of the individual in life be scientific in the sense of the organisational character of science (which tries to exclude individual interests as best as it can for they are deemed to bring subjectivity into science striving for objective truth). The choice of the books/texts which are analyzed in this study was partly (admittedly) random; however, they bear a common characteristic which is: these are texts which show/make visible the organisational character of science. The character of the studies in this book is phenomenological because they provide a close look at 12 texts/books and their use of language, supported by extensive quotes. (shrink)