RESUMO O intuito deste artigo é estudar o objetivo principal da estética musical de Boulez, para o início das comemorações de seus 90 anos, desde certas categorias de Deleuze, considerando que elas nos permitem compreender e delinear uma lógica da sensação sonora. Se Deleuze se ocupou em detalhe do trabalho de Francis Bacon, por exemplo, a fim de criar uma "lógica da sensação visual" em que o conceito de "Figura" fosse central, propomos que o trabalho musical de Boulez, (...) analisado a partir do pensamento de Deleuze, possa mostrar os momentos decisivos de uma "lógica da sensação sonora." Por meio de alguns trabalhos de Boulez podemos ver dois elementos muito importantes para nossa pesquisa dados na estrutura instalada pela filosofia de Deleuze. Esses dois elementos que darão forma a este artigo são: as "figuras" da música e as "forças" do som expressivo. ABSTRACT This article aims to study the main objective of musical aesthetics of Boulez, to begin to commemorate 90 years, since certain categories of Deleuze, as they allow us to understand and outline a logic of sound sensation. If Deleuze worked in detail the work of Francis Bacon, for example, to create a "logic of visual sensation" where the concept of "Figure" is central, we propose that the musical work of Boulez, analyzed from Deleuze's thought, be possible to show the decisive moments of a "logic of sound sensation." Along some works by Boulez we can see two very important elements for our research in the framework installed Deleuze's philosophy are given. These two elements will shape this article are: the "figures" of music and the "forces" expressive sound. (shrink)

(1998). Composition, improvisation, constitution: forms of life in the music of pierre boulez and ornette coleman. Angelaki: Vol. 3, The love of music, pp. 75-102.

In Avant Garde: An American Odyssey from Gertrude Stein to Pierre Boulez, Stockhausen specialist Robin Maconie reconsiders the role of music and music technology through careful examination of key modern concepts with respect to time, existence, identity, and relationship as formulated by such thinkers as Einstein, Russell, Whitehead, and Gertrude Stein, along with Freud, Schoenberg, Wittgenstein, and Marcel Duchamp.

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, (...) the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work. (shrink)

Johnny Hallyday was France's first rock and roll star and was honored as a national hero at his funeral, which was attended by nearly a million people. The funeral of Pierre Boulez, on the other hand received little fanfare. This book attempts to resolve this discrepancy.

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)

De Bach à Boulez : trois siècles de musique, trois siècles de créations, de reprises, de disparitions, longue traîne du présent, de toutes les oeuvres présentes. "Musics for piano" de John Cage, "Sonates" de Mozart, "Symphonie fantastique" de Berlioz, "Concerts royaux" de Couperin, "Saint François d'Assise" de Messiaen. Comment rendre compte de ces oeuvres? Qu'est-ce qui fait l'oeuvre et sa valeur, en musique? On connaît deux manières de répondre à la question, disons deux paradigmes de l'oeuvre d'art. Paradigme musicologique (...) : l'oeuvre, c'est la partition ou le texte musical fixé sur un support. Paradigme sociologique : l'oeuvre, c'est ce que des acteurs, critiques, publics, agents, institutions, désignent comme telle. Où compte avant tout l'intention esthétique. L'auteur revient sur l'un et l'autre, pointant les maillons forts et les maillons faibles de ces schèmes de pensée, et leur complicité dans le projet d'arrêter l'oeuvre d'art. " L'art arrêté! " Tel pourrait être le bandeau de nombre d'ouvrages sur le thème. Invite à ne pas les approcher! A l'intellectuel déçu par les sillons fermés de la pensée, au mélomane perdu devant la schématisation de ce qu'il aimait, proposons un autre chemin. Suivons une oeuvre " en liberté " décrivons ses manifestations, repérées par ce nom : "Sur Incises" de Pierre Boulez ; saisissons, plutôt qu'une oeuvre, "ce et ceux qui oeuvrent" et alimentent aujourd'hui notre passion. (shrink)

Examining a series of modernist thinkers and composers who engaged with non-European cultures as they pursued pure sound as a privileged presence, White Musical Mythologies pairs Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida to offer an ambitious intellectual history of the colonial roots of modernist musical thought. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking (...) music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. Edmund Mendelssohn suggests that the Euro-American idea of "pure sound," and the twentieth-century quest to produce it, was premised on an assumed authority of "the West" over Europe's others. Intended for readers in philosophy, musicology, art theory, the history of modernism, sound studies, and postcolonial studies, this book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound. (shrink)

This fully revised new edition re-establishes Paul Griffiths's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reforming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in (...) Luigi Nono's pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. Paul Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed include Steve Reich, Jean Barraque, Elliott Carter, Olivier Messiaen, Gyorgy Kurtag, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. (shrink)

Les mathématiciens et philosophes du xix e siècle ont souligné l’incapacité de la doctrine kantienne de l’espace à prendre en charge la fondation des géométries non euclidiennes, et cette difficulté semble pouvoir être rapportée à une tension interne à la notion kantienne d’extériorité : en cherchant à « exposer » l’espace comme condition de possibilité de la géométrie comme science a priori, Kant s’interdirait en réalité de rendre compte de sa fonction de possibilisation de l’expérience externe en général. Le même (...) problème se manifeste lorsqu’on cherche à rendre compte, comme nous le faisons ici, de l’extériorité des phénomènes sonores. À travers la description du rapport du son au temps, mais aussi à l’espace, et à la lumière de la musique savante contemporaine et en particulier d’une œuvre de Pierre Boulez dans laquelle la spatialisation du son joue un rôle majeur, nous montrons qu’il est nécessaire, pour sauver le transcendantal, de lui imposer un reformatage – et plus précisément un déplacement. Car dans la tension entre fondation des axiomes géométriques et ouverture du sujet à l’extériorité, ce qui se joue n’est pas autre chose que le sens même de la question transcendantale. (shrink)

What if sounds everywhere lavish divine generosity? Merging insights from Jean-Luc Marion with musical ingenuity from Pierre Boulez and John Cage's 4'33", Gerald C. Liu blends the phenomenological, theological, and musical to formulate a hypothesis that in all places, soundscapes instantiate divine giving without boundary. He aims to widen apprehension of holiness in the world, and privileges the ubiquity of sound as a limitless and easily accessible portal for discovering the inexhaustible magnitude of divine giving.

In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that (...) these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice-Merleau-Ponty, Alain Badiou, and Félix Guattari. In so doing we seek to find between these practices points of both conjunction and disjunction which enrich our understanding of Cage’s and Deleuze’s work, and, more widely speaking, of the passage of twentieth century music and philosophy in general. Here we hope to make contributions to the fields of continental philosophy and music theory especially, and to open a point of engagement with the nascent field of sound studies. (shrink)

The discipline of musicology, like the word itself which the Oxford English Dictionary dates only back to 1909 (or even 1915), is a twentieth-century, specifically Anglo-American, institution echoing the tradition of French musicologie and with analogies to German Musikwissenschaft. As a modern and ineluctably postmodern project, musicology derives from a predominantly Austro-German generation of scholars who translated a continentally European tradition of analysis (Heinrich Schenker and, in London, Donald Francis Tovey and Hans Keller) and formal music theory (routinely articulated by (...) then-contemporary new composers: Arnold Schoenberg, Rudolf Réti, and Theodor Adorno, as well as Karl-Heinz Stockhausen and Pierre Boulez) into English language university contexts. (shrink)

As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal focus (...) cannot be music. This article challenges such sort of naturalistic criteria distinguishing music from nonmusic. Permitting certain sets of sounds to be considered music does not necessitate denial or approval of naturalistic explanations but does allow nontonal music to serve a part of human and musical evolution. (shrink)

We revisit several results concerning club principles and nonsaturation of the nonstationary ideal, attempting to improve them in various ways. So we typically deal with a ideal J extending the nonstationary ideal on a regular uncountable cardinal \, our goal being to witness the nonsaturation of J by the existence of towers ).

La définition platonicienne du philosophe; la philosophie comme mode de vie; rupture et continuité, le Moyen Age et les temps modernes. [SDM].

Alva Noë’s version of the enactive conception in _Action in Perception_ is an important contribution to the study of visual perception. First, I argue, however, that it is unclear (at best) whether, as the enactivists claim, work on change blindness supports the denial of the existence of detailed visual representations. Second, I elaborate on what Noë calls the ‘puzzle of perceptual presence’. Thirdly, I question the enactivist account of perceptual constancy. Finally, I draw attention to the tensions between enactivism and (...) two trends in cognitive neuroscience: the two-visual systems model of human vision and the theory of internal forward models of action. (shrink)

This paper reviews Deleuze’s theory of language in Logic of Sense, and Deleuze and Guattari’s theory of language in A Thousand Plateaus. In the ontology informed by the Stoics described in those books, human being and language do not exist separately but in a mixture of words and things. The author argues that this flattened ontology of surfaces is incommensurable with the ontology of depth used in conventional humanist qualitative methodology and recommends beginning new empirical inquiry with a concept instead (...) of with method and methodology. (shrink)

Transcrire des écrits scolaires : entre philologie et génétique textuelle Cet article propose une réflexion épistémologique sur les problèmes posés par la transcription d’écrits scolaires pour la constitution d’un corpus informatisé. Il interroge l’opération de transcription de manuscrits dans deux cadres théoriques : la philologie et la génétique textuelle. On examine les modèles proposés dans ces deux cadres, les possibilités mais aussi les problèmes rencontrés pour la transcription d’écrits parfois non normés comme le sont les écrits d’élèves. À partir d’exemples (...) de productions d’élèves, on aborde plusieurs difficultés récurrentes : la transcription des éléments non verbaux des manuscrits, de la topographie de l’écrit ou encore des énoncés métadiscursifs. (shrink)

Although Husserl is known for having developed a substantial theory of subjectivity across his transcendental phenomenology, he explicitly and purposefully left aside the question of the subject in his early groundwork, the Logical Investigations. This article investigates the reasons for this philosophical decision and claims that the theory of indexical meanings developed in the first and sixth Logical Investigations provides a sophisticated analysis of the first-person pronoun that legitimates Husserl’s choice: in the absence of a fully-fledged concept of subjectivity in (...) Husserl’s early works, the theory of “occasional expressions” addresses the question of the subject by examining the phenomenological conditions of one’s ability to meaningfully make use of the pronoun “I”. The article argues against Derrida’s reading of the first Logical Investigation that the expression of the first-person is somehow insensitive to the prospect of intuitive presencing and epistemic fulfilment. (shrink)

La présente étude propose une interprétation de EN, V, 10, en défendant deux thèses: premièrement que la notion centrale de la variabilité du droit naturel signifie la diversité des interprétations que l'on peut donner d'un sentiment communément partagé du juste ou de l'injuste (cf. Rhét., I, 13); deuxièmement que, pour échapper au relativisme de type protagoréen, Aristote défend l'idée d'un régime parfait qui seul peut fournir la meilleure interprétation de ce sentiment.

Musique et philosophie ne peuvent être séparées chez Nietzsche. C’est du moins l’hypothèse de cet article, qui vise à préciser les liens entre ces deux « actions » sur deux points précis : le rythme musical dans les premières recherches du jeune Nietzsche, et la question même de l’éternel retour. En effet, cette pensée centrale ne saurait être comprise, c’est-à-dire pleinement interprétée, sans lui conférer aussi un sens musical – et même, plus précisément, un sens rythmique. De nombreux textes tendent (...) ainsi à montrer que la philosophie stylistique de Nietzsche est manifestement indissociable de la sensibilité à la musique. (shrink)

Putnam’s argument aims to prove that future is as real as present. His argument is based on the equation present = real. Is real what exists now. Is real what is part of observer-independent reality. What exists now depends on an observer—it is not real. It is then shown that Special Relativity is not only a physical theory, it has also a philosophical dimension in that it questions our very understanding of reality and requires a clear distinction between reality and (...) its representation. (shrink)

Le mal est une notion qui s’étend au moins sur trois champs disciplinaires : la théologie, la philosophie et l’art. Il connaît un même traitement dans chacun de ces trois champs, motivé par des systèmes différents : le mal n’est jamais pris comme objet causa sui mais toujours considéré dans sa relativité à un objet premier dont il contribue à définir la limite. Nous proposons un rapide tour d’horizon de cette situation afin d’ouvrir les pistes de réflexion d’une intelligibilité du (...) comportement de cette notion dans l’histoire des idées. Nous suivons un ouvrage de Paul Ricœur et saisissons certains textes clefs de l’histoire de la pensée au travers de l’objet problématique qu’est le mal, évoquant notamment les travaux plus récits avec la méthode herméneutique proposée par Hans Blumenberg afin de percevoir la figure du diable comme l’objet pratique d’une telle observation dans le fil de l’histoire des idées. (shrink)

(No abstract is available for this citation).

Bultmann a-t-il été en partie victime d’une certaine « logique du protestantisme » ? R. Marlé a posé la question. Un théologien protestant peut être d’accord pour le fond avec la critique catholique, mais en la reprenant dans un esprit différent qui fera valoir la particula veri propre à Bultmann. On passera en revue à cet effet les quatre principaux griefs qui lui sont adressés.a) Réduction, au profit de la foi, de l’objectivité de l’historique et de celle du monde. — (...) L’objectivité à revendiquer est celle des données de la croyance, qui sont incarnées, et celle du monde comme lieu de salut. b) Survalorisation de la subjectivité de l’acte de foi au détriment de son contenu. — La particularité de l’engagement de foi dans le présent doit être maintenue, intégrée à une mémoire et à un corps de symbolismes et de références. c) Rejet de la révélation de Dieu à l’extérieur de la raison et de l’expérience historique. — Contre un refus radical à l’excès des médiations de la croyance, on maintiendra que Dieu est « pensable », sans que cela revienne à le « comprendre ». d) Insuffisance de la conception de la théologie comme simple intellectus fidei. — L’exercice théologique doit se déployer sous un horizon universel, mais aussi à un niveau socio-culturel attentif à toutes les inscriptions du religieux dans l’histoire et les mentalités.En définitive, on peut tenir le « fidéisme » du Bultmann pour l’illustration d’un « destin protestant », sans qu’il ait renié pour autant la théologie dialectique, mais pas davantage la théologie libérale, en tant que la première est une riposte articulée à la modernité et non un retour en arrière.Was Bultmann, to some extent, a victim of a certain “Protestant logic”? R. Marlé asked that question. A Protestant theologian can fundamentally agree with the Catholic position but take it in a different spirit, which would highlight the particula veri proper to Bultmann. The four principal complaints addressed to Bultmann in this matter will be reviewed.a) Reduction, in favor of the faith, of the objectivity of the historical and that of the world. — The objectivity demanded is for the tenets of belief, which are incarnate, and for a world as the place of salvation. b) Overvaluing of the subjectivity of the act of faith to the detriment of its content. — The particularity of the engagement of faith in the present must be upheld, integrated into a memory and a body of symbolisms and references. c) Rejection of the revelation of God outside reason and historical experience. — Against a radical refusal of the excess of mediations of belief, one can hold that God is “thinkable”, without being “understood”. d) Lack of the conception of theology as simple intellectus fidei. —The theological task should spread itself under a universal horizon, but also to a socio-cultural level that is attentive to all the inscriptions of the religious in history and mentalities.Finally, one can hold the “fideism” of Bultmann as an illustration of a “Protestant destiny”, without necessarily denying dialectical theology. Nor, indeed, liberal theology, in so far as the former is an articulated reply to modernity and not a return to the past. (shrink)

In traditional epistemology, psychological self-knowledge is taken to be the paradigm of privleged a priori knowledge. According to an influential incompatibilist line of thought, traditional epistemic features attributed to psychological self-knowledge are supposed to be inconsistent with content externalism. In this paper, I examine one prominent compatibilist response by an advocate of content externalism, i.e., Fred Dretske's answer tot he incompatibilist argument, based on the model of displaced perceptual knowledge. I discuss the costs and benefits of his answer.

I examine the impact of human metarepresentational abilities on human memory.