Kennedy shows that Plato gave his dialogues a similar musical structure, dividing each dialogue into twelve parts and inserting symbols at each twelfth to mark a musical note. These passages are either harmonious or dissonant and traverse the ups and downs of a known musical scale. Many of Plato's early followers insisted that Plato used symbols to conceal his own views within the dialogues, but modern scholars have denied this. Kennedy, an expert in Pythagorean mathematics and music theory, is able (...) to show that Plato's dialogues contain a system of symbols that are undetectable by those without knowledge of obsolete Greek mathematics. The book begins with a concise and accessible introduction to Plato's symbolic schemes and the role of allegory in ancient times. The author then annotates the musical symbols in two of Plato's most popular dialogues, the Symposium and Euthyphro, and shows that Plato used the musical scale as an outline for structuring his narratives. (shrink)

Crystallography has proven a rich source of ideas over several centuries. Among the many ways of looking at space groups, N. David Mermin has pioneered the Fourier-space approach. Recently, we have supplemented this approach with methods borrowed from algebraic topology. We now show what topology, which studies global properties of manifolds, has to do with crystallography. No mathematics is assumed beyond what the typical physics or crystallography student will have seen of group theory; in particular, the reader need not have (...) any prior exposure to topology or to cohomology of groups. (shrink)

There has been considerable interest in the literature about how professions operate in both the private and public interest. This paper examines this issue in the context of the enforcement of the professional code of conduct of a particular professional accounting association. The paper explores whether certain enforcement actions of the association suggest behaviour motivated at least partially by private interest. It then considers whether the consequences of such behaviour or practices are troubling.

It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance of works is very different (...) from performance of classical music works. The first step toward resolving the puzzle is to embrace the descriptive concept of a musical work and reject inappropriate normative concepts of a musical work. In particular, I argue against the accounts of musical works by Kania and Goehr, each of which implies a no-works thesis for jazz performance. I contrast the norms governing work performance in classical music with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that differs from the appreciation of classical music. (shrink)

For the moment, I assume that we have some rough idea of what “title” is supposed to mean: the large letters on the spine of a book, the words on the center of the first page of a musical score, or the little plate on the museum wall to the right of the painting . Thus examples of titles would be The Taming of the Shrew, “Mapleleaf Rag,” or The Birth of Venus, but that generates a rather complex set of (...) answers.Let us start with what is undoubtedly the simplest situation: where an inscription of the title is physically part of the work. The most familiar of the aquatints of Francisco Goya which collectively are called Los Caprichos—the forty-third—is titled The Sleep of Reason Produces Monsters, or, more precisely, the Spanish equivalent of those words, for the Spanish words appear as a large and significant element on the plate, indeed occupying more than 10 percent of its surface. In such cases titles are not given: they are elements of works, not by inference or subtle metaphor but in a most literal way. No other title fits in that way. That print could not be called Bats and Cats and Sleeping Man with the expectation that those words should serve as its title. Some works—most works—on the other hand, allow for a range of acceptable titles. Guernica could have been titled The Bombing of a Basque Village or Luftwaffe Hell. Neither of these would, I suspect, have been as good a title as Guernica, but they remain possibilities, even though the familiar title is not physically part of the work. Some works, incidentally, contain words, even sentences, and are not titled accordingly. Several familiar works of René Magritte include a most realistic representation of a tobacco pipe and the large words “Ceci n’est pas une pipe.” Examples of the titles given by Magritte to paintings in this series are L’Air et la chanson and Le Trahison des images. Obviously, not all works of visual art which contain linguistic inscriptions have titles which correspond to those inscriptions. The simplest situation is hardly much help. John Fisher is professor of philosophy at Temple University and editor of the Journal of Aesthetics and Art Criticism. He is also the editor of Perceiving Artworks and Essays on Aesthetics. (shrink)

The author believes that plato's view of the nature of philosophical activity can be seen in plato's paradoxical attitude toward the relationship between the written and spoken word. The "phaedrus" is examined from this perspective, And the author concludes that the varied wing symbols used by plato here indicate that although written words "have no wings," the words of philosophy do. Written words have some effectiveness for persuasion, But a philosopher needs more spirited interaction than this; only the spoken word (...) can supply this. (staff). (shrink)

The question ‘Is it worth it?’, as originally applied to artworks by Tolstoy and here reintroduced by Sheila Lintott, opens a fruitful avenue for understanding land art. It is, however, a question...

This chapter contains sections titled: Aesthetic preservationism Aesthetic value The biophilia hypothesis What is an aesthetic response to nature? Perceiving nature as nature Positive aesthetics Mixed and influenced environments Conclusion.

I argue that the denial of speakers' knowledge of language rules is based on conceptual confusion and in particular on a misanalysis of what it is to know a rule. I shall turn to the task of establishing this point after first providing the background for this issue: the difficulty of conceptualizing verbal behavior both under the hypothesis that speakers do, and under the hypothesis that speakers do not know the rules of grammar. I shall argue that this difficulty and (...) the dispute it has engendered are based on overly simple and inadequate views of rule knowledge. Our ordinary concept of knowing a rule has been radically ignored by theorists who have written on this issue. In consequence, they have operated with conceptual schemes too impoverished to allow for the knowledge that speakers do have. A more adequate analysis or account of rule knowledge will thus be the main concern of this paper with the problem of speakers’ knowledge of grammar being the motivation to attempt such an analysis. (shrink)

Searle's Chinese Room argument is a general argument that proves that machines do not have mental states in virtue of their programming. I claim that the argument expresses powerful but mistaken intuitions about understanding and the first person point of view. A distinction is drawn between a competence sense and a performance sense of ‘understanding texts’. It is argued that the Chinese Room intuition looks for a special experience (performance) of comprehension, whereas artificial intelligence is attempting to explain the knowledge (...) (competence) required to understand texts. Moreover, a dilemma is sketched for the argument: either Searle hasn't identified the appropriate subject of understanding or he may understand after all. Finally, I question the underlying assumption that the general definition of mental states requires a projectable‐by‐us first person point of view. (shrink)

Although the generation of reactive oxygen species is an activity normally associated with phagocytic leucocytes, mammalian spermatozoa were, in fact, the first cell type in which this activity was described. In recent years it has become apparent that spermatozoa are not the only nonphagocytic cells to exhibit a capacity for reactive oxygen species production, because this activity has been detected in a wide variety of different cells including fibroblasts, mesangial cells, oocytes, Leyding cells endothelial cells, thryroid cells, adipocytes, tumour cell (...) and platelets. Since the capacity to generate reactive oxygen species is apparently so widespread, the risk‐benefit equation for these potentially pernicious molecules becomes a matter of intese interest. In the case of human spermatozoa, the risk of manufacturing reactive oxygen metabolites is considerable because these cells are particularly vulnerable to lipid peroxidation. Indeed, there is now good evidence to indicate that oxygen radicals are involved in the initiation of peroxidative damage to the sperm plasma membrane, seen in many cases of male infertility. This risk is off‐set by recent data suggesting that superoxide anions and hydrogen peroxide also participate in the induction of key biological events such as hyperactiavated motility and the acrosome reaction. Thus, human spermatozoa appear to use reactive oxygen species for a physiological purpose and have the difficult task of ensuring the balanced generation of these potentially harmful, but biologically important, modulators of cellular function. (shrink)

The address of the President to his colleagues at the Medieval Academy is an invitation to speak about a subject close to the heart. I was told by the aunt who met me at the boat when I returned from Persia at the age of fourteen — a typical Kipling child, leaving my family on the other side of the world and returning home to school — that when she asked me what I was going to do when I grew (...) up, I said firmly, “I am going to teach Chaucer.” Well, it has been my privilege to study and teach and edit and write about Chaucer for nearly half a century. So there is no subject that I could speak about closer to my heart. (shrink)

In January 1729 a paper written by James Bradley was read at two meetings of the Royal Society. On a newly discovered motion of the fixed stars, later described as the theory of the aberration of light, it was to transform the science of astrometry. The paper appeared as a narrative of a programme of observation first begun at Kew and finalized at Wanstead, but it was, in reality, a careful reconstruction devised to enhance his reputation in response to a (...) recognition that the programme was initially conducted in terms that were inimical to what he conceived to be his interest. The planned attempt to repeat Robert Hooke's celebrated experiment by James Pound, Samuel Molyneux and George Graham was set up at Molyneux's residence in Kew with James Bradley replacing Pound after his untimely and sudden demise. The unexpected and counterintuitive behaviour of the object star γ Draconis and the eradication of any suspicion of instrumental or systemic error led to the abandonment of the attempt to measure annual parallax and the initiation of new conjectures. An annual nutation was proposed but after the observation of a control star, 35 Camelopardalis, this conjecture was abandoned. Unknown to Bradley and Graham a premature approach was made by Molyneux to Newton claiming that the ‘nutation’ negated the whole of Newton's system. In the abandonment of the nutation yet another conjecture opposed to Newtonian theory was proposed and abandoned. Bradley determined to use his own instrument designed on different principles by Graham to observe the phenomenon in Wanstead. At Wanstead Bradley observed many stars to determine the parameters of the phenomenon. With the law of the motion described, Bradley proposed a hypothesis to explain it. Drawn from his earlier work on the ephemerides of Jupiter's satellites his hypothesis of the ‘new-discovered motion’ was quickly presented to the Royal Society as Bradley was working on a later and more definitive version of his paper. It is this later, third, unpublished version that is commonly referred to throughout this essay. It issued a challenge to ‘anti-Copernicans’ to offer an explanation of the observed phenomenon in geostatic terms. One such astronomer, Eustachio Manfredi, had examined the phenomenon of ‘aberrations’ in detail, the term being his. It was Bradley who first applied the term to the ‘new-discovered motion’ and within a short time ‘aberration’ was being applied by astronomers in the reduction of their observations. Annual aberration was widely accepted as evidence of the motion of the Earth. The paper enhanced Bradley's reputation and projected him into the forefront of European astronomers. (shrink)