Wittgenstein has written a great number of remarks relevant to aesthetical issues: he has questioned the relation between aesthetics and psychology as well as the status of our norms of judgment; he has drawn philosophers attention to such topics as aspect-seeing and aspect-dawning, and has brought insights into the nature of our aesthetic reactions. The examination of this wide range of topics is far from being completed, and the purpose of this book is to contribute to such completion. It gathers (...) both papers discussing some of Wittgenstein s most provocative and intriguing statements on aesthetics, and papers bringing out their implications for art critic and art history, as well as their significance to epistemology and to the study of human mind.". (shrink)

This essay reviews Deirdre McCloskey’s trilogy in political economy: Bourgeois Virtues, Bourgeois Dignity, and Bourgeois Equality. In this trilogy McCloskey seeks to reestablish the ethical, historical, and political legitimacy of modern capitalism. Success of the project is offset by misapprehension of normativity and thus of how human economy is ethical.

This essay intersects literature and epistemology in order to understand what it means to take “The left hand of darkness”, as proposed by the author Ursula K. Le Guin, as a thought experiment. As we look at Science Fiction as a literary genre and how it relates to the notion of thought experiment, we conclude that Science Fiction authors, through the imaginary displacement they perform as they create people, worlds, political organizations, and explore the relations between subjects within these imaginary (...) structures, also draw thought experiments that are able to deal with important aspects of the human experience. (shrink)

The discussion about the uses of the concept “musical object” highlights the difficulties of the project – put forward by Pierre Schaeffer (1966) – of basing its definition on the idea of “objet sonore”. Moreover, the proposal to assimilate the functions of the “objet sonore” to those fulfilled by a “musical work” turns out to be no less problematic. A new definition is proposed: a musical object is a social object resulting from the inscription of perceived sound(s), or of the (...) acoustic event(s)/object(s), in a reference system recognized as “musical” by a group of (minimally) two people. (shrink)

I. Dans un texte récent, le compositeur français Jean-Luc Hervé expose ainsi son projet d’une œuvre conçue pour un espace public, notamment un jardin : (…) une génération totalement aléatoire de son, si elle permet de varier continuellement le matériau sonore, interdit par définition toute construction musicale. Il est impossible par cette méthode de façonner des formes et de proposer à l’auditeur une écoute détaillée. Il ne peut reconnaître aucune forme, aucun objet musical (geste, phrase)....

Starting from the context in which Wittgenstein thinks of the concepts of “seeing-as” and “hearing-as”, the basic relation is clarified between the question of representation, musical understanding, and the theory of musical expressiveness. The points of views of Wollheim, Scruton, Levinson, and Ridley are discussed, in a re-consideration of the notions of hearing and understanding within Wittgenstein’s “last philosophy”.

Recent theological treatments of political economy have tended to ignore the early-modern origins from which the capital market system arose. An effort is made here to trace a specific conceptual development from the theodicies of G. W. Leibniz and Bishop William King to the economic theory of David Hume and Adam Smith, a development that implies certain theological transmutations. Both the theodicist and economist claim, for different reasons, that nature itself is capable of redeeming evils. Two theoretical shifts contributed to (...) this development: rational optimism and conjectural historiography. Scrutinizing the mechanistic backdrop for this historical narrative discloses acute theological compromises. (shrink)

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which can (...) be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Why Political Liberalism? On John Rawls’s Political Turn by Paul WeithmanMatthew ArboWhy Political Liberalism? On John Rawls’s Political Turn Paul Weithman New York: Oxford University Press, 2010. 379 pp. $65.00In Why Political Liberalism? Paul Weithman takes a bifocal look at political liberalism in the Rawlsian tradition. First he interrogates the rationale for John Rawls’s “political turn” from A Theory of Justice to Political Liberalism. Second, he explores the (...) viability of political liberalism in contemporary Western societies. The soundness of the former—the logic of Rawls’s argument, that is—validates the workability of the latter. Weithman argues that the monumental turn in Rawls’s thought is based first on his dissatisfaction with how Theory of [End Page 203] Justice treated the principle of stability, failing as it did to show that “members of a [well-ordered society] would all judge it good to preserve their ‘firm good will’” (369). Liberalism emerged as a potential answer to the question of stability by further elaborating the criteria for fairness and reasonableness in a civil society composed of citizens desirous of justice and who maintain for themselves a “sense” of justice. Weithman affirms Rawls’s explanation of how the virtue of justice is displayed in fairness and reasonableness. Just how monumental this shift turns out to be, however, depends a great deal on how compelling one finds “justice as fairness” to be.In recent decades, reasonable doubts have been expressed over the viability of Rawls’s liberal dictum: whether liberty and equality are mutually reinforcing or parasitic, or whether fairness is too morally opaque to shoot for as a political ideal. Weithman seems to believe the principle sound; it is, after all, merely a descriptive explanation of how justice is upheld politically, not a prescriptive project. Rawls concerned himself with the stability and endurance of political liberalism and with how to achieve fair and rational equilibrium. Why Weithman believes the project of Rawlsian liberalism to be fruitful, or at least philosophically successful, is due at least in part to its repeated appeal to reasonableness—that is, the rational promotion of equal liberty for all citizens. Political liberalism, as a theory, affirms and encourages all that the West values in civil society: We must desire and actively support justice for it to be preserved.This book is intended primarily for Rawls scholars. Weithman assumes his reader to have “fairly sophisticated” acquaintance with Rawls’s major theories and texts, and thus also assumes proficiency in symbolic logic and analytic methods. Weithman furnishes a way around this demand for analytic aptitude from all readers, however, by inviting those “uninterested in textual exegesis” and “content with a general understanding” of why Rawls made his turn to “read selectively” from chapters 3 through 9 (15). Be that as it may, all eleven chapters of this text are dense, rigorous, and tightly argued—standard industry practice in contemporary analytic philosophy. If one can also forebear the methodological vices of analytic philosophy, its propensity for tedious detail and narrowness, then one will eventually enjoy unexpected clarity on the subject under consideration. It will be of value to scholars with interests in the development of Rawlsian thought, the conditions for the possibility of political liberalism, and theories of justice Rawls’s account of liberalism seeks to elucidate.I doubt one unconvinced by Rawls’s political vision will undergo intellectual conversion upon reading Weithman’s Why Political Liberalism?, but that is not the point. His aim is to defend Rawls’s political turn and the project of political liberalism broadly construed. Defense of the former is done rather successfully; defense of the latter may require more voices than Weithman’s. [End Page 204]Matthew ArboUniversity of EdinburghCopyright © 2013 Society of Christian Ethics... (shrink)

What do we mean when we talk about the identity of a musical work and what does such an identity involve? What in fact are the properties that make it something worth protecting and preserving? These issues are not only of legal relevance; they are central to a philosophical discipline that has seen considerable advances over the last few decades: musical ontology. Taking into account its main theoretical models, this essay argues that an understanding of the ontological status of musical (...) works should acknowledge the irreducible ambivalence of music as an "art of the trace" and as a "performative art." It advocates a theory of the musical work as a "social object" and, more specifically, as a sound artefact that functions aesthetically and which is based on a trace informed by a normative value. Such a normativity is further explored in relation to three primary ways of conceiving and fixing the trace: orality, notation and phonography. (shrink)

Ce livre se veut une lecture d'ensemble des reflexions que Wittgenstein a consacrees aux questions esthetiques concernant la musique. Il s'attache notamment a explorer les fonctions de l' entendre comme un outil conceptuel susceptible de nous aider a analyser nos manieres de comprendre cet art et a mieux definir ses proprietes expressives et son pouvoir emotionnel. Plus generalement, l'approfondissement de ces thematiques a pour objectif la definition d'une strategie pour re-penser l'acte performatif et l'experience auditive.

Comment l'enregistrement a-t-il modifié les manières d'être de la musique?Quelles incidences a-t-il eu sur nos façons d'interpréter et d'écouter les oeuvres ou les improvisations? Comment est-il devenu un outil dans la construction d'un répertoire, d'une tradition, voire d'un genre musical? Quel est son rôle dans la recherche musicologique? Voilà les questions, tant philosophiques que musicologiques, que cet ouvrage se propose d'aborder, en prenant en compte aussi bien la musique savante que les musiques populaires.

Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works). These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something) as (something)": typically, to hear a musical passage as an introduction or as a conclusion (...) or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical) these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong), in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life. (shrink)

In this book, leading Christian political thinkers and practitioners critique the Rawlsian concepts of “justice as fairness” and “public reason” from the perspective of Christian political theory and practice. It provides a new level of analysis from Christian perspectives, including implications for such hot topics as the culture war.

Renaud Barbaras, La vie lacunaire [Thomas Vercruysse, p. 324] • Wolfram Hogrebe, Der implizite Mensch [Federica Ceranovi, p. 334] • Emmanuel Alloa, Das durchscheinende Bild [Maria Teresa Costa, p. 344] • Alexander R. Galloway, The Interface Effect [Angela Maiello, p. 346] • Francisco José Ramos, La significación del lenguaje poético [Michele Gardini, p. 348] • Alessandro Arbo, Entendre comme. Wittgenstein et l’esthétique musicale [Leonardo V. Distaso, p. 351.

Metamorfosi del tragico : Beethoven fra Nietzsche e Michelstaedter -- Riflessioni sul silenzio : fra Adorno e Jankélévitch -- Musica e fenomenologia -- Musica nel museo : riflessioni su un tema di Gadamer -- ermeneutica della musica? -- Prospettive per l'estetica della musica.

Les Prolegomenes a la Philosophie de Platon sont un manuel d'ecole neoplatonicien. Il s'inspire d'un modele dont Proclus a du etre l'auteur, mais l'origine de ce texte est presque surement alexandrine et doit dater de la premiere moitie du Vle siecle. Cette oeuvre est essentielle pour comprendre comment etait diffuse l'enseignement platonicien, et pour mieux saisir le mouvement des idees de l'Antiquite finissante. Dans une importante introduction, L. O. Westerink a retrace l'histoire de l'ecole d'Alexandrie et celle du genre litteraire (...) de ces introductions a Platon et a Aristote. (shrink)