Bd. 1. Absenz-Darstellung -- Bd. 2. Dekadent-Grotesk -- Bd. 3. Harmonie-Material -- Bd. 4. Medien-Popular -- Bd. 5. Postmoderne-Synästhesie -- Bd. 6. Tanz-Zeitalter/Epoche -- Bd. 7. Register und Supplemente.

In lieu of an abstract, here is a brief excerpt of the content:Three Moments in the Crisis of Exemplarity: Boccaccio-Petrarch, Montaigne, and CervantesKarlheinz StierleIn his recent book History as Topic Peter von Moos denies that there was any crisis for the exemplum in the Renaissance. 1 He strongly argues against my essay on “History as exemplum,” where I pointed out that in Montaigne, as earlier in Boccaccio, the pragmatic form of exemplum is put into question. 2 My main interest in (...) this essay, however, was not to mark a break between Middle Ages and Renaissance but to understand the way in which the correlation between sententia and exemplum was transformed into a more complex relation between moral reflection and particular case. Undoubtedly, since Valerius Maximus and his Factorum et dictorum memorabilium libri, there has always been, as in John of Salisbury’s Policratius, the possibility of questioning the exemplary truth of the exemplum by opposing it to a never-ending wealth of counter-examples. This, however, never puts into question the idea of exemplarity itself. The validity of the exemplum as a rhetorical form of narration that tends towards its own conceptual or ideological structure has an anthropological basis. It presupposes that over time, there is more analogy in human experience than diversity, or that in all situations of civil and political life the pole of equality is stronger than that of difference.Boccaccio’s novella is precisely the narrative form that puts this anthropological basis into question. Each novella in the Decameron is essentially a [End Page 581] particular variant of a more general conceptual scheme. The stress of narration, however, is not on the scheme itself but on the autonomy of the variant. Basically the novella is a form of rewriting in the mode of retelling, thus bringing an elementary narration to higher complexity. 3 Each of the “vari casi,” mostly of love-affairs, is a confrontation of exemplarity and contingency. It is the power of contingency or fortuna that brings forth the specific particularity of each novella. The art of the writer Boccaccio, whose primary fiction is oral story-telling, consists in giving aesthetic evidence to this particularity. Reading, not listening, is the form of reception that corresponds to this structure. That Boccaccio adds the other title “Il Prencipe Galeotto” to the Decameron is an allusion to Dante’s Divine Commedy where in the famous episode of Paolo and Francesca (Inf. V), Galeotto becomes the personification of the allegory of reading and its seduction.Contingency, or, in Boccaccio’s own medieval terms, fortuna, is the real poet of the novella. That is why the most important scenes of the novellas are those where the power of contingency comes to light: at the sea and in the city. The particular shape of novella, which results from a balance between contingency and significant configuration, emerges from contingency itself. Its configuration is a particular case of contingency, one that by its immanent structural elegance is aesthetically gratifying. It nevertheless leaves open the question whether there might not be a power of a superior kind behind contingency. Because there is an ambiguity between contingency and sense, the exemplary status of each story is, ironically, placed in question. Contingency overcomes exemplarity; however, it never triumphs definitely. The impact on the exemplum by contingency not only gives to each narrative case its difference or even autonomy, it also opens up a new temporal dimension. The exemplum seems to move in an essential time where all time-aspects are controlled and functionalized by a dominating conceptual structure. In the novella time becomes a primary structure. “Or avviene che” is the narrative formula for this new quality of narrative time, becoming a time of disruption and instability where things and situations may change in a moment for the better or for the worse.I would like to illustrate the structure of the Boccaccian novella by at least one exemplary case. Almost in the middle of the book—which means in the middle of its temporal space of ten days—we find the novella of Federigo degli Alberighi, considered to be one of Boccaccio’s finest (V, 9). Federigo, in a world of merchants and trade, is the perfect nobleman who ruins himself by his... (shrink)

In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The presupposition, (...) however, that there actually is such a concept can only appear plausible at first sight. Upon closer inspection it turns out to be utterly misguided. (shrink)

The epidemic of COVID-19 appears to be reshaping the world, separating before and after, present and past. Its perceived novelty raises the question of what role the past might play in the present epidemic and in responses to it. Taking the view that the past has not passed, but is present in is material and immaterial remains, and continuously emerging from these, we argue that it should not be studied as closed narration but through the array of its traces, which (...) constitute the texture of the present. To that end, and building on long-term ethnographic research on past and present epidemics in western Kenya, we assemble here some preliminary observations on the first weeks of COVID-19 in Kenya. We explore how the acute epidemic crisis currently unfolding is intertwined with layered fragments of earlier epidemic events, attending to material infrastructures, institutional practices, and ritual responses, to the presence of virally loaded bodies, pharmaceuticals, and their residues, and to the resurgence of often painful memories and emotions. People in this region have experienced a long century of epidemics and anti-epidemic measures of varying duration and intensity, from colonial and postcolonial sleeping sickness and smallpox to HIV/AIDS and more recently cancer, alongside actual or anticipated outbreaks of cholera and Ebola. This local perception of one long epidemic qualifies the notion of a radical temporal break that the COVID-19 pandemic is often associated with in European conversations. (shrink)

This chapter stages an ongoing conversation between Arthur Danto and the author. In a series of encounters from 1985 till 2012 (in New York City and elsewhere) the problem of defining art is explored from different angles. Eventually, two kinds of definition are distinguished. On the one hand, a definition may aspire to identify peculiar characteristics of the things that are commonly regarded members of the noble class of artworks. On the other hand, a definition might also name criteria for (...) deciding whether an object may become a member of this class in the first place. Danto focused on the first task because he felt, quite rightly, that the second would require competences that philosophy does not dispose of. (shrink)

English summary: Heinz Ludeking belonged to the German philosophical movement that explored analytical esthetics. Ludekings analytical approach to art brought new light to the definition and concept of art. In particular, he created a connection between logical reflection and esthetic investigation. French description: Heinz Ludeking appartient a ce courant de la philosophie allemande qui a pris pour objet l'esthetique analytique, et qui est encore largement meconnu en France en depit de sa productivite conceptuelle. Dans cet ouvrage, l'auteur s'est efforce d'etablir (...) un bilan critique de la premiere philosophie analytique de l'art - celle des annees 50-60 -, c'est-a-dire des travaux qui ont precede les theories de Goodman et de Danto. L'approche analytique de Ludeking, volontiers caustique, peut etre devastatrice. Elle apporte neanmoins une lumiere nouvelle sur un probleme central, jamais veritablement resolu, celui de la definition de l'art et du concept d'art. L'une des qualites dominantes de cette analyse est d'etre parvenue a realiser une jonction exceptionnellement rigoureuse entre la reflexion logique et l'investigation proprement esthetique. (shrink)

Interdisciplinarity and the Development of Knowledge. The author is engaged in the question how to explain the development of scientific meanings of facts which does not coincide with producing them rather with processes of the scientists' public communication. So long as the facts are adjustable to the conventional theories of those discipline which the researcher belongs to this connection does not reveal perfectly clear. More instructive is a consideration of so-called 'anomalies'. The author demonstrates with an example of the history (...) of science that researchers in case of new phenomena use to borrow concepts from other disciplines for resolving the interpretative problems. It emerges a loose net-work of concepts. In this way the researchers are producing a disciplinary mixed public at the same time. This process is seen as an important phase of the development of new theories and, complementary, new disciplines. (shrink)

This book is a short, up-to-date survey of the science and technology of photography. Modern photographic chemistry and physics is highlighted with emphasis given to current photographic processes and the structure of photographic materials. All technical professionals in the field of photography will find this book of enormous value as it is unique in its concise, detailed presentation of the subject.

There is wide agreement that community engagement is important for many research types and settings, often including interaction with ‘representatives’ of communities. There is relatively little published experience of community engagement in international research settings, with available information focusing on Community Advisory Boards or Groups (CAB/CAGs), or variants of these, where CAB/G members often advise researchers on behalf of the communities they represent. In this paper we describe a network of community members (‘KEMRI Community Representatives’, or ‘KCRs’) linked to a (...) large multi-disciplinary research programme on the Kenyan Coast. Unlike many CAB/Gs, the intention with the KCR network has evolved to be for members to represent the geographical areas in which a diverse range of health studies are conducted through being typical of those communities. We draw on routine reports, self-administered questionnaires and interviews to: 1) document how typical KCR members are of the local communities in terms of basic characteristics, and 2) explore KCR's perceptions of their roles, and of the benefits and challenges of undertaking these roles. We conclude that this evolving network is a potentially valuable way of strengthening interactions between a research institution and a local geographic community, through contributing to meeting intrinsic ethical values such as showing respect, and instrumental values such as improving consent processes. However, there are numerous challenges involved. Other ways of interacting with members of local communities, including community leaders, and the most vulnerable groups least likely to be vocal in representative groups, have always been, and remain, essential. (shrink)

This book treats practical and political reasoning as an active engagement with the world and other people; it cannot be understood as exclusively cognitive and this is seen as a virtue rather than a deficiency. Informal, emotional, characterological, aesthetic and interactional aspects of thought can be constituents of reasonable arguing. The work examines key capacities connected with argumentation, in a variety of fields from professional and medical ethics to work organization and the practice of art.

It has been noted before in the history of logic that some of Frege's logical and semantic views were anticipated in Stoicism. In particular, there seems to be a parallel between Frege's Gedanke (thought) and Stoic lekton; and the distinction between complete and incomplete lekta has an equivalent in Frege's logic. However, nobody has so far claimed that Frege was actually influenced by Stoic logic; and there has until now been no indication of such a causal connection. In this essay, (...) we attempt, for the first time, to provide detailed evidence for the existence of this connection. In the course of our argumentation, further analogies between the positions of Frege and the Stoics will be revealed. The classical philologist Rudolf Hirzel will be brought into play as the one who links Frege with Stoicism. The renowned expert on Stoic philosophy was Frege's tenant and lived in the same house as the logician for many years. In der Geschichte der Logik ist häufig bemerkt worden, dass einige der logischen und semantischen Auffassungen Freges in der Stoa antizipiert worden sind. Genannt wurden insbesondere die Parallelen zwischen dem Fregeschen Gedanken und dem stoischen Lekton sowie die Unterscheidung zwischen vollständigen und unvollständigen Lekta, die bei Frege ihre Entsprechung hat. Ein Wirkungszusammenhang ist allerdings nicht behauptet worden. Dazu gab es bislang auch keinen Anlass. Der vorliegende Beitrag versucht erstmalig, einen detaillierten Indizienbeweis für das Bestehen eines solchen Zusammenhangs vorzulegen. Dabei werden weitere charakteristische Übereinstimmungen zwischen Frege und der Stoa aufgewiesen. Als Mittelsmann wird der Altphilologe Rudolf Hirzel vorgestellt. Er wohnte lange Jahre als Mieter zusammen mit Frege im selben Haus und war ein anerkannter Experte der stoischen Philosophie. (shrink)

Fieldworkers (FWs) are community members employed by research teams to support access to participants, address language barriers, and advise on culturally appropriate research conduct. The critical role that FWs play in studies, and the range of practical and ethical dilemmas associated with their involvement, is increasingly recognised. In this paper, we draw on qualitative observation and interview data collected alongside a six month basic science study which involved a team of FWs regularly visiting 47 participating households in their homes. The (...) qualitative study documented how relationships between field workers and research participants were initiated, developed and evolved over the course of the study, the shifting dilemmas FWs faced and how they handled them. Even in this one case study, we see how the complex and evolving relationships between fieldworkers and study participants had important implications for consent processes, access to benefits and mutual understanding and trust. While the precise issues that FWs face are likely to depend on the type of research and the context in which that research is being conducted, we argue that appropriate support for field workers is a key requirement to strengthen ethical research practice and for the long term sustainability of research programmes. (shrink)

Community Engagement (CE) has been presented by bio-ethicists and scientists as a straightforward and unequivocal good which can minimize the risks of exploitation and ensure a fair distribution of research benefits in developing countries. By means of ethnographic fieldwork undertaken in Kenya between 2007 and 2009 we explored how CE is understood and enacted in paediatric vaccine trials conducted by the Kenyan Medical Research Institute and the US Centers for Disease Control (KEMRI/CDC). In this paper we focus on the role (...) of paid volunteers who act as an interface between villagers KEMRI/CDC. Village Reporters’ (VRs) position of being both with the community and with KEMRI/CDC is advantageous for the conduct of trials. However it is also problematic in terms of exercising trust, balancing allegiances and representing community views. VRs role is shaped by ambiguities related to their employment status and their dual accountability to researchers and their villages. VRs are understandably careful to stress their commitment to self-less community service since it augments their respectability at community level and opens up opportunities for financial gain and self-development. Simultaneously VRs association with KEMRI/CDC and proximity to trial participants requires them to negotiate implicit and explicit expectations for material and medical assistance in a cultural setting in which much importance is placed on sharing and mutuality. To ensure continuity of productive interactions between VRs, and similar community intermediaries, and researchers, open discussion is needed about the problematic aspects of relational ethics, issues concerning undue influence, power relations and negotiating expectations. (shrink)

In this paper we give a detailed comparison of the key elements of Frege’s formal language of thought and apparently similar views in Stoic formal logic. That is, we compare their views on the following topics: connectives, negation, simple sentences, propositional content, predicates and their incompleteness, and quantifications. We show that in most of these cases the similarities between Frege’s views and the Stoic views are only superficial. Frege’s views are far more systematic, better developed and can in no case (...) directly or fully be traced back to Stoic ideas. Furthermore, we show that Prantl, pace Bobzien 2021, is in most of these cases not a reliable source with respect to Stoic logic and that it is very unlikely that Frege’s views on logic were influenced by Prantl’s interpretation of Stoic formal logic. (shrink)

Identities ascribed to research staff in face-to-face encounters with participants have been raised as key ethical challenge in transnational health research. ‘Misattributed’ identities that do not just deviate from researchers' self-image, but obscure unequivocal aspects of researcher identity – e.g. that they are researchers – are a case of such ethical problem. Yet, the reasonable expectation of unconcealed identity can conflict with another ethical premise: confidentiality; this poses challenges to staff visiting participants at home. We explore these around a case (...) study of ‘follow-up’ staff, observed during an ethnographic study of a Kenyan HIV ‘trial community’, which included participant observation, conversations, and interviews with staff (n = 79) and participants (n = 89). We found that because of the need to maintain confidentiality and because of some suspicions towards researchers, research staff drew upon alternative identities – presenting themselves to non-participants as relatives or friends, rather than as researchers. Several staff experienced this as necessary but uncomfortable. Simultaneously, staff and participants forged close relations in line with their fictional identities, which however also posed challenges because they entailed personal responsibilities that were difficult to live up to, due to limited resources, and the trial's limited duration. Similar challenges may arise in transnational HIV treatment programmes and should be explored further in that context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exemplarities: A Response to Timothy Hampton and Karlheinz StierleFrançois Cornilliat*Karlheinz Stierle and Timothy Hampton have both played a major part in defining and mapping the much-debated subject of exemplarity: Stierle as early as 1972, in his ground-breaking article for Poétique, 1 Hampton in his acclaimed 1990 book, Writing from History. 2 While their approaches have a lot in common, they also reveal a number of important differences, (...) and it seems to me that those differences teach us something not only about the problem of exemplarity in the Renaissance but also about the role played by that notion in our latest effort to capture that mercurial era. In what follows I will—somewhat unfairly—focus on the conceptual differences revealed by our authors’ contributions and reflect on what they suggest regarding the problematic usefulness of the exemplary in the Renaissance as well as in Renaissance studies.A convenient place to start, to differentiate the two contributions, is the status of the emerging genre of the novella vis-à-vis the problem of exemplarity. For Stierle “contingency is the real poet of the novella.” For Hampton, the novella genre also marks a shift in the regime of exemplarity, but the “real poet of the novella” is not exactly contingency; it is not exemplarity either, but some kind of sub-species. Yet to define that sub-species in Hamptonian terms is to abandon the immanent or “formal” descriptions practiced in the discipline of “pure” poetics. It would not be sufficient, for instance, to decide that the novella poetic principle is “political exemplarity,” [End Page 613] as opposed to “moral exemplarity.” Hampton tells us that the Heptameron recasts the fictions of aristocratic heroism “as tales whose exemplarity is moral, rather than political.” But such a recasting, seen from another level of interpretation, is indeed a political gesture.Whatever is political—as a topic—in the romance genre, is anachronistic and fictional; it is a set of poetic tricks appealing only to private fantasy. Fantasy, however, still has the capacity to mistaking itself for a pertinent social ambition and a program for action, as in the case of Don Quixote. This makes it all the more visible as a symptom of displaced politics. Whatever is moral—as a topic—in the novella genre, bears witness to the prince’s reinforced power to define what noble people are supposed to do—to talk about, that is, within closely guarded borders. The “moral” is, if considered in its infrastructure, a topic mapped by the political; similarly the production of discourse, the very domain of rhetoric or poetics is recast as the new type of political “action” expected from the former ruling class. So the “real poet” of the novella splits in two; and in that sense, one could say that the novella has no such thing as a “real poet.” The poets of the novella are a class whose conception of exemplarity has just been redefined by the prince. One could say that the “real poet” is the prince or the emerging nation state, but this would overlook the division of tasks between the poet and the prince. Instead of expressing the values of its own politics, the poetic class of the Heptameron’s narrators fundamentally exemplifies those values which the prince or the state allows them to have. Conversely, it is not the prince who does the talking or the writing in this exemplification process. And this, incidentally, leads us to a perhaps naive question about the status of the Queen of Navarre as an author vis-à-vis this new princely role: is she on one side or the other, is she a go-between?At any rate, exemplarity also splits: a good exemplar of those recast values (say, honnesteté) also exemplifies something else which is not set within those values per se but has to do with who institutes them, and why. In other words a good exemplar is also, from an interpretative standpoint, immediately a symptom, insofar as it is an operator for some invisible casting. Behind a “I want to be like x” kind of statement lurks an “I want you to be like that,” with the latter... (shrink)

Durante la década de 1950 Karlheinz Stockhausen adhirió a los principios modernistas promovidos por la Escuela de Darmstadt que dieron lugar al desarrollo del serialismo integral. En su búsqueda de renovación del lenguaje musical, Stockhausen intentó aplicar esta técnica a la composición de obras electrónicas en el laboratorio de la WDR (Westdeutscher Rundfunk) en Colonia. Este artículo indaga, por medio del concepto de mediación técnica propuesto por Bruno Latour, cómo el intercambio de propiedades entre humanos y no humanos propiciado (...) por el laboratorio fue modificando el proyecto serial. Como resultado de ese proceso, Stockhausen compuso una serie obras que no pudieron ser completamente prefiguradas a priori, hecho que demandó la creación de nuevas formas de escucha y notación musical. A partir de ello, buscaremos caracterizar la práctica compositiva de Stockhausen desde una perspectiva no modernista, haciendo hincapié en el carácter híbrido y relacional de los eventos musicales. (shrink)

This article proceeds from a consideration of what John Baldacchino calls ‘viable ignorance’, attempting to take leave from the critical and pedagogical obligations of certain elements of Barbara Johnson's ‘positive ignorance’. It considers Friedrich Nietzsche, Jean-François Lyotard and the composer, Karlheinz Stockhausen's reflections on modes of experience, and the cultivation of complementary dispositions, where the knowing, egocentric subject is transformed into, or undermined as, what Nietzsche calls ‘a medium of overpowering forces’. The disposition itself is outlined through close readings (...) of key elements of Nietzsche's notebooks, Lyotard's final chapter of Libidinal Economy (1993), and Stockhausen's lecture, ‘Intuitive Music’ (1971) and developed through supplemental practice-as-research activity in sound. The intention of this paper is to explore the space of aesthetic ignorance as committedly as possible, without reverting constantly to positive ignorance. (shrink)

Einleitung -- Die auditive Anschauungsform a priori der Stille -- Das Klingende und ZERO -- Die auditive Anschauungsform a priori im Kontext akustischer Musik -- Die auditive Anschauungsform a priori im Kontext elektroakustischen Klingens -- Die auditive Anschauungsform a priori und Karlheinz Stockhausen -- Fazit -- Abbildungen.

My chief object in these notes is to provide evidence for tracing the ancestry of certain themes, situations, and characters which appear in New Comedy; I hope, however, that they may also be useful for the study of Middle Comedy itself. I am therefore chiefly concerned with the period from 400 b.c. to 320 b.c., when Menander had begun to write; I have, however, given some dates after 320 which were necessary to complete my story, but I have left out (...) many plays by poets of New Comedy which can be dated in the decade 320–310 b.c. I have also omitted the originals of Plautus Amphitruo, Persa, and Menaechmi, although I am convinced that they all belong to Middle Comedy and hope to consider the problem more fully elsewhere; the tactics of the battle in the Amphitruo are possible for Epameinondas and Philip as well as for Alexander, but the clash of two kings seems to limit the reference to Alexander and Dareios as depicted in the famous mosaic, and the limits are 330–320 ; the original of the Persa must have been written before Alexander's conquests and the limits seem to be 345–338; Hueffher's late dating of the original of the Menaechmi has been successfully countered by Fraenkel and the whole feel of the play suggests Middle rather than New Comedy. The following list is arranged in decades, except where it has proved necessary to use a longer period. I have tabulated first the plays or victories dated by inscriptional or other firm evidence; among these I have included the plays dated by Geissler, without comment except where I disagree with him. (shrink)

In keiner geisteswissenschaftlichen Disziplin hat Gadamers Hermeneutik tiefere Spuren hinterlassen als in der Literaturwissenschaft. Bezugnahmen auf 'Wahrheit und Methode' bilden langst eine Art 'Koine' der Selbstverstandigung des Fachs. Der aus einem Kolloquium im Deutschen Literaturarchiv Marbach hervorgegangene Band bilanziert diesen Bestand: Im ersten Teil diskutieren Jean Grondin, Dieter Teichert, Norbert Groeben, Tilmann Koppe u.a. Gadamers Theorievorschlage und deren Rezeption durch so wirkungsmachtige Literaturwissenschaftler wie Hans-Robert Jauss, E.D. Hirsch und Frank Kermode. Dabei geht es nicht nur um wissenschaftsgeschichtliche Befunde, sondern um (...) eine aktuelle Kritik der Leistungen Gadamers. Im zweiten Teil des Bandes befassen sich David Wellbery, Rudiger Gorner, Sandra Kluwe, Gerhard Buhr u.a. mit Gadamers Interpretationen zu Goethe, Holderlin, George, Rilke und Paul Celan. Neben vergleichenden Perspektiven, so auf die Interpretationsmanier Heideggers, werden auch hier die Pramissen der Gadamerschen Auslegungspraxis herausgearbeitet und auf ihre hermeneutische Produktivitat hin befragt. Eine Podiumsdiskussion, in der Dieter Henrich, Glenn Most, Karlheinz Stierle und Rainer Warning Gadamers interpretationstheoretische Zentralmetapher des Text-Leser-Gesprachs erortern, rundet den Band ab. (shrink)

Nowadays there are many spaces of fascination in visual art. Of course, installative space and contextual space have been on the art scene for awhile. However, they are now accompanied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and screen-based space. In this volume, architects, artists, theorists, three symposia and four exhibitions attempt to find answers to questions such as: Could the architectonic study and/or deconstruction of space play a decisive role in the shift of attention to (...) space? Which theoretical factors structure the current experience and meaning of space? What is the role of the aesthetization of the environment on our concept of space? Smooth Space - VCC de Brakke Grond, Amsterdam - is a project at the heart of this publication. Spatial interests range from how the concept of space is redefined and exploited in our current visual culture to how the digital world influences our spatial concepts. Participants in this issue are: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, Sjoerd Soeters, Lars Spuybroek, Ann Van Sevenant, Peter Weibel and Mark Wigley. (shrink)

Following a previous article published in Biological Theory, in this study we present a mathematical theory for a science of qualities as directly perceived by living organisms, and based on morphological patterns. We address a range of qualitative phenomena as observables of a psychological system seen as an impredicative system. The starting point of our study is the notion that perceptual phenomena are projections of underlying invariants, objects that remain unchanged when transformations of a certain class under consideration are applied. (...) The study develops with the observables, the entailed total order and metric, whence the algebra and the geometry of such a science, presenting a formal phenomenological model for phenomena that are not rigidly Euclidean. We show how non-Euclidean perception can have many useful Euclidean formalizations, as well as locally-homeomorphic-to-Euclidean-space models. The mathematical models we provide are tested on the basis of results from experimental psychology, in particular from the field of color, time, and space perception. (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)

J'ai dit en ce livre l'essentiel de ma pensée, et je serais heureux de connattre ceux qui l'acceptent comme ceux qui, en s'y opposaml, la confirment sans le vouloir 2.

Résumé De nombreuses musiques cherchent à exercer sur les auditeurs une « efficacité symbolique » : transformer l’instant musical en rite d’initiation, faire entrer les corps en transe, convertir les émotions musicales en émotions corporelles, c’est-à-dire les affects en actions. En s’appuyant sur les écrits théoriques de Pierre Boulez et Karlheinz Stockhausen, cet article tente de montrer comment chez ces deux compositeurs cette utopie d’une subjectivation à travers la ritualisation de l’écoute s’articule à l’entreprise formaliste d’autodéfinition de la musique, (...) en vue de la constituer comme une sphère autonome. (shrink)