In lieu of an abstract, here is a brief excerpt of the content:Dwelling in the GapsGalen SanderlinHave you ever wondered what it would be like to be a mythical being? As a hermaphrodite, I exist in a culture that sees only male or female. Those of us who don’t fit into the rigid sex binary are left out of many of the protections offered to our cousins who more neatly fit the two categories. This leaves an enormous gap in (...) cultural definitions and societal acceptance of my fundamental being.My journey has three main threads: 1) My personal and often rocky self–development, as I have come to understand and accept what it means to be a hermaphrodite, and finding others of my tribe; 2) recognizing the harm done by my medical treatment and actively seeking to change how the medical system treats hermaphrodites, starting from birth onwards; and 3) identifying what was done to me as a human rights violation.I was born in January of 1975. No genetic test was done at the time. My body looked male and my assigned sex/gender was male. As a child, I gravitated toward “male” toys. In 1989, a rural– MD noted that I was not experiencing puberty like my peers and she recommended that my parents take me to a teaching hospital in Seattle for tests. A pediatrician referred me to the adolescent medical division, and from there I was referred to an endocrinologist. After conducting many invasive tests, including drawing blood and comparing my testicles to a bead ring of ersatz testicles, the endocrinologist diagnosed me with Klinefelter’s Syndrome and a karyotype of 47,XXY. I was prescribed testosterone injections to affirm and strengthen the male identity I was assigned at birth and to prevent my body from developing secondary female sex characteristics (breasts and hips).Soon after the shots started I bulked up, adding muscle and hair everywhere. I also became dangerously aggressive and moody. I began to have serious self–esteem issues and a drastic increase in risk–taking behavior as my body was subjected to medical intervention that my parents innocently followed.The prescribed hormone treatment fractured my psyche—what I know now to be a common defense mechanism experienced in trauma survivors. The portion of my consciousness that existed prior to testosterone became deeply buried to prevent harm, and I experienced the emergence of a new “entity.” With each change in prescription, new fractures occurred: testosterone cypionate to enanthate shots, to patches, to gels.The physicians did not consider my feelings or preferences during recommendations or treatment. I feel I was forced into a “male” body based on a medical emergency they created to ease societal concerns.Last February I decided to stop hiding. Tearing the mask off has brought a flood of emotions hidden behind old traumas. I’d been living openly as an intersex person, but still deeply closeted, if not from the public—worse, from myself.Here is the writing that came pouring out of me as I’ve been accessing my repressed memories:I felt the first stirrings of my existence in August of 1989, like a fleeting visage of a long lost lover passing just out of view. The timing of the universe—Out of the infinite we are born, but in this case the body we are to occupy was already housing many other souls. Is this some mistake? Asked to be patient I waited... Late in the year of 1989 I was borne on testosterone wings into an imaginary masculine role/body.Molded in the image of Adonis, Hermes was forced to submit. No longer sexless or ageless—lost in a sea of supposed pressures and roles. My assumed gender [End Page E10] was male. Why!?! Screaming, thrashing, and damaging all around me, no way to express the horror of being so brutally manhandled.My guide Galen/Juniper were excised from our psyche—lost behind a barrier. The only solace was a shared beat: 1,2,3,4 over and over. Was this the pounding of our heart? Thank god for our love of music least we lose ourselves entirely.Why do they insist on calling me Galen? I no longer knew who this was. I... (shrink)

This article discusses the Embodied Generative Music (EGM) project carried out at the Institute of Electronic Music and Acoustics IEM in Austria. In investigating a new interface that combines motion capture and sound processing software with movement improvisation and performance, I focus on dancers? learning processes of dwelling in the virtual sonic environment. Applying phenomenology and its concepts, I describe how dancers explore reversibility of sound and movement to shape this connection in an artistically expressive manner. The article proposes (...) that dancers build bodily knowledge through both the sonic environment and their own passive and active, intuitive and deliberate, movement choices. While dwelling in a digital environment changes dancers? habitual manners of behaving, it opens up to them new kinds of kinaesthetic opportunities of intimacy and pleasure in motion. The findings from this research reveal the importance of bodily interaction with virtual environments in developing new movement-based interfaces. (shrink)

In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have (...) taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art. (shrink)

Exploring the risks, ambiguities, and unstable conceptual worlds of contemporary thought, Crossover Queries brings together the wide-ranging writings, across twenty years, of one of our most important philosophers.Ranging from twentieth-century European philosophy—the thought of Heidegger, Foucault, Derrida, Levinas, Janicaud, and others—to novels and artworks, music and dance, from traditional Jewish thought to Jain andBuddhist metaphysics, Wyschogrod’s work opens radically new vistas while remaining mindful that the philosopher stands within and is responsible to a philosophical legacy conditioned by the negative.Rather than (...) point to a Hegelian dialectic of overcoming negation or to a postmetaphysical exhaustion, Wyschogrod treats negative moments as opening novel spaces for thought. She probes both the desire for God and an ethics grounded in the interests of the other person, seeing these as moments both of crossing over and of negation. Alert to the catastrophes that have marked our times, she exposes the underlying logical structures of nihilatory forces that have been exerted to exterminate whole peoples. Analyzing the negationsof biological research and cultural images of mechanized and robotic bodies, she shows how they contest the body as lived in ordinary experience.“Crossover Queries brings together important essays on a remarkable range of topics by one of our most insightful cultural critics. Commenting on philosophical and theological issues that have shaped the recent past as well as scientific and technological questions that will preoccupy us in the near future, Wyschogrod consistently alerts us to the urgency of problems whose importance few recognize. To avoid the challenge these essays pose is to avoid responsibility for a future that appears to be increasingly fragile.”—Mark C. Taylor, Columbia University. (shrink)

This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian (...) dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions. (shrink)

Philosophy is the soul of art, and art is great because of philosophy. All kinds of philosophical thoughts seep into artists' minds like water flooding the beach, affecting their world outlook and outlook on life, and providing theoretical guidance for their artistic creation from aesthetic thoughts to creative methods. Beethoven used musical language to express the deepest worries in the hearts of the advanced people of his time. This paper attempts to explore the internal development law of art philosophy (...) from the perspectives of the orientation of art philosophy, the aesthetic construction of "meaningful form" and "poetic dwelling" of art philosophy, the thinking of the final conclusion of art philosophy, the development destination of art philosophy, and the integration and development. In the long history of art development, the form and function of art are constantly changing. Philosophy provides a continuous source of creative ideas for art and works of art often show profound philosophical views. Kant's lofty aesthetic concept affects the infinite emotional capacity in Beethoven's music. However, the expression of the ubiquitous contradictions and conflicts in Beethoven's music is also deeply influenced by Kant's view of nature. In Beethoven's view, the development of the universe is similar to a person's mental journey, and its essence is also a large symphony or sonata. (shrink)

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers, and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, (...) an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. (shrink)

The article dwells on the problem of Rakhmaninov’s art, style and poetics influence on the process of formation and development of national music cultures, national composer schools and some individual author’s styles of the former USSR. Three evolution stages of all national music cultures are determined: “preprofessional”, “professional” and the stage of “new music”. Two work concepts are introduced: a Rakhmaninov’s musical and style canon as an individual system including characteristic properties of the composer’s style and poetics, and a (...) national musical and style canon as a system of musical and expressive language principles typical for every musical culture and possessive of the national character. The signs representing the Rakhmaninov’s style are revealed and considered on the piano concerto genre. These two spheres outlined are disclosed in folklore and neofolklore conditions as the main evolution directions of the national musical thinking. The main principles of the Rakhmaninov’s and national canons interaction are singled out: adaptation corresponding to the early development stages of national music cultures (forlklore stage) and assimilation (by G. Golovinsky) characteristic for “new music” (neofollore stage). The problems are considered on the example of piano concertos by Z. Ismagilov, A. Khatchaturyan, A. Eshpay, R. Gazizov and some others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pax Americana and the World of Music EducationEstelle R. Jorgensen (bio)It may seem ironic to speak of a Pax Americana at a time when the United States is prosecuting a war and its aftermath.1 Still, imperialism, or the desire to keep the peace on one's own terms, has led other nations into war when their will and power was frustrated and thwarted. My purpose in this essay is to (...) raise four important and interrelated questions: What are the political tasks that hopeful music teachers, administrators, and those interested in their work need to undertake to pursue an ethically universalistic, democratic, and humane education? What are some guiding principleswhereby music educators and policy-makers can navigate this territory? What are the conditions that would facilitate educational dialogue of the sort that is needed? How should music to be taught in order to achieve the intellectual objectives necessary in dialogical education? I view these questions from the limited musical perspective of the Western classical tradition — a misnomer since it is now an international tradition practiced around the world by people of many different languages, ethnicities, and cultures — and in the context of my position that this tradition merits transformation.2 This is a particularly interesting example since its roots originally are European, Eastern, and African, and it potentially subverts the predominant American popular musical culture of our time.Michael Hardt and Antonio Negri write of a global empire in the making and the seeds of its decline and fall, the multitudes that arise against it and the challenges they encounter in making their voices heard in the political arena.3 The forces of globalization, interwoven as they are with those of capitalism and the ideologies that foster it, are so pervasive that it is difficult for nation states to resist. The powers of nation-states decline while pervasive internationalism lies like an "epidermis" over the many nation-states, religions, languages, and ways of life that characterize societies on planet earth.4 The United States might champion capitalism and its own [End Page 1] breed of democratic ideology, yet globalization engulfs it such that it becomes the creature of its own making. Its values and culture might lie at the heart of the cultural, economic, and political agents of globalization — the multinational corporations with their corresponding distribution networks, interlocking international corporate directorships, licensing agreements, technological inventions, and powerful political and religious liaisons — yet even the United States becomes the child of forces it has exported throughout the world and that it is now unable to control. A culture of fear and violence pervades the country.5 Outsourcing, off-shore export of production capacity, the power of the profit motive, and management decisions made far from the particular places they impact leave many Americans without jobs and security, and a sense of powerlessness to change their circumstances — a phenomenon that also appears in other countries. Eventually, as Hardt and Negri posit in Marxian vein, the people impacted by these developments both here and abroad begin to organize themselves and rise against the oppression they may at first sense if not fully understand; in the beginning they may march peacefully but as their anger and frustration grow, they may eventually revolt. One need not buy into their particular reading of history to notice that, at least over the long term of decades or centuries, there seem to be limits on the human willingness to tolerate oppression; when their patience is eventually exhausted, people resist, subvert, escape, or overthrow their oppressors.One of the particular challenges of our time is the "polyvocality" of contemporary societies. Globalism may constitute the epidermis overlying these "multiplicities and pluralities" but underneath are the hosts of differing tribes, religions, languages, colors, and identities. Ways need to be found for people to dwell together in peace and debate and reconcile their differences without resorting to violence.6 In such a world, even in societies that espouse democratic ideals and principles, moral conflicts cannot be avoided, and differences between and among individuals and groups are often deeply rooted, persistent, and pervasive. This necessitates forging mechanisms that enable deliberation about how to solve the conflicts that necessarily arise.7 Seyla... (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...) Sbonias. Les différents spécialistes présentent ici leur travail en détail, développant les rapports des deux premières campagnes publiés dans Pharos, le périodique annuel de l'Institut néerlandais d'Athènes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Knowing the EastPatti M. MarxsenKnowing the East. By Paul Claudel. Translated by James Lawler. Princeton, NJ: Princeton University Press, 2004. 136 pp.Fifty years after his death, Paul Claudel (1868–1955) is remembered for many things. Not only was he a major twentieth-century poet and playwright, he was an astute observer of Dutch, Spanish, and Japanese art. Not only was he the brother of sculptor Camille Claudel, he was a (...) diplomat who lived for nearly twenty years in Asia, including a stint as the French ambassador to Japan (1921–1927). When he was elected as a member of the Académie Française in 1946 at nearly 80 years of age he quipped, "For an academic, that is puberty." He died at 87, having lived large in two centuries and on three continents.Following an adolescence marked with indifference toward religion, Claudel experienced a profound conversion to Catholicism during a Christmas night service at Notre Dame Cathedral in Paris at the age of 18. With Christianity at the center of his universe and under the influence of Symbolist poets Rimbaud and Mallarmé, he developed a response to the world that was at once poetic and spiritual. Through his poetry, plays, and essays, he insisted on a fundamental unity between matter and spirit, a harmonious and vast universe into which the human mind could enter. And, at least for him, the point of entry was the portal of the Church. He struggled at times, but never lost sight of his faith. For all this, he is often credited with the revival of French Catholicism in the wake of WWI. After all, if Paul Claudel could take religion seriously and find meaning in it, pourquoi pas the rest of us?The facts of his extraordinary biography form a peculiar background to the recent translation by James Lawler of Claudel's collection of prose poems titled Knowing [End Page 229] the East. First published in 1946 as Connaissance de l'est, these sixty-one texts were written between 1895 and 1905 during Claudel's first visits to China and Japan as a young vice-consul stationed in Shanghai. He was twenty-six and still finding his poetic voice. And though his stance in the world is decidedly Christian, the content of this intriguing work reveals an inner dialogue with Buddhist ideas of interconnection, harmony, the ongoing quest for a higher life condition, and the overwhelming impact of nature in the lives of mere humans.In "Pagoda," Claudel describes a seven-story Chinese pagoda as it "amplifies and multiplies the roof, exaggerates the horned corners that rise with an elegant surge, and turns their curves upward to the sky." This form that "does away with walls" and concentrates on the uplifting roof creates a space where "Buddha, Prince of Peace, dwells inside with all the gods." In this architecture he reads a structuring of physical and spiritual space, a kind of never ending upward movement divided into "the seven mystical heavens." The culminating effect is the heavenly achievement of the unknowable. And so, after going as far as he can go into the world of the spirit, he ends this prose poem with an abrupt return to temporal reality. "I have no more to say of the Pagoda. I do not know its name."Elsewhere, in "The Wanderer," he turns his sense of awe toward nature. "Every tree has its personality, every small beast its role, every voice its part in the symphony," he writes. "As one understands music, so I understand nature, like a detailed narrative of proper names; as my walk and the day advance, so does the elaboration of the doctrine." The "doctrine," it seems, is the idea of dependent origination, the interrelation of all life that springs from a single source. In the last line, he states, "I understand the world's harmony. When will I grasp its melody?"In "The Temple of Consciousness" Claudel climbs "the black rock's vertical wall, and only at this late afternoon hour do I know myself to be on the right track." Below, he observes golden rice fields. Ahead there is an "old stairway overlaid with hoary moss... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 89-103 MuseSearchJournalsThis JournalContents[Access article in PDF]Philosophical AestheticsDonald Phillip VereneIs there an aesthetics of philosophy? Does philosophical discourse have a foundation in sense and sensibility? If the answer to these questions is affirmative and there is in some sense a philosophical aesthetics, what conclusions might be drawn for philosophical education?Put another way: Does philosophy require the power of the imagination and the product (...) of this power-image? Or is philosophy the product of the pure concept, the rational idea? Does philosophical reason rest upon a logic that resides in thought alone that is expressed essentially in principles and arguments disconnected from images and sentiment?The Philosophical ImaginaryThe French philosopher Michèle Le Doeuff says:Whether one looks for a characterization of philosophical discourse to Plato, to Hegel or to Bréhier, one always meets with a reference to the rational, the concept, the argued, the logical, the abstract. Even when a certain coyness leads some authorities to pretend that they do not know what philosophy is, no agnosticism remains about what philosophy is not. Philosophy is not a story, not a pictorial description, not a work of pure literature. Philosophical discourse is inscribed and declares its status as philosophy through a break with myth, fable, the poetic, the domain of the image. 1Le Doeuff continues:If, however, one goes looking for this philosophy in the texts which are meant to embody it, the least that can be said is that it is not to be found there in a pure state. We shall also find statues that breathe the scent of roses, comedies, tragedies, architects, foundations, dwellings, [End Page 89] doors and windows, sand, navigators, various musical instruments, islands, clocks, horses, donkeys and even a lion, representatives of every craft and trade, scenes of sea and storm, forests and trees: in short, a whole pictorial world sufficient to decorate even the dryest "History of Philosophy." 2Le Doeuff points to Hegel's work as an example of the claim that the sole form of philosophy is thought. Yet the works of Hegel, like those of Plato, are full of images. Plato and Hegel are masters of metaphor. One can say of them what Aristotle says in the Poetics, that "the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others and it is a sign of genius. For the right use of metaphor requires an eye for similarities in dissimilars." 3 Despite his mastery of metaphor, in the Republic Plato uses his doctrine of eidos to criticize the power of eikon to present truth. Hegel, in the Phenomenology, uses his doctrine of the Begriff to claim that the Bild cannot produce the science of the absolute. Plato and Hegel say one thing in their texts, but in the texts themselves they do another. Plato's dialogues are filled with metaphors and likely stories from the Ring of Gyges to the metaphor of the Sun to the tale of Atlantis, as are Hegel's works, from the "night in which all cows are black" to the phrenological skull to the owl of Minerva that flies only at the falling of dusk.How are we to comprehend the extremes of philosophical doctrine on the one hand and the discourse that expresses it on the other? Is the discourse simply the outer shell of the doctrine, inessential to its truth, or does the doctrine itself require for its truth all that is needed for its proper statement?I wish to seek the answer to this by connecting Plato to Hegel, using Vico as an intermediary, in particular Vico's conception of la sapienza poetica (poetic wisdom) and his conception of the universale fantastico (imaginative universal). My claim is that philosophical discourse, as well as philosophy itself, depends upon an aesthetic that cannot be overcome by reason, that there is a philosophical imaginary that necessarily accompanies philosophical rationality. The concept, the idea, always has a shadow, a doppelgänger through which... (shrink)

This article aims to investigate the relationship between music and Mimmo Paladino s figurative work throughout his career. Starting as a painter of silence, an artist finding shelter in silence to paint, Paladino then engaged in an increasingly dense dialogue with the art of sounds. He is convinced that the creation of music stemming from tonal harmony is parallel to the creation of the work of art originated from formal harmony, and believes that the elements of his compositions can be (...) compared to counterpoints, notes, intervals, rhythms and musical harmonies. It is a long and complex path that led - and this is recent history - to the two collaborations with the non-musician Brian Eno, whose works this article will extensively dwell on. (shrink)

Fergus Kelly: Thinking in Threes: The Triad in Early Irish Literature Brian Pullan: Charity and Usury: Jewish and Christian Lending in Renaissance and Early Modern Italy Noel Malcolm: The Crescent and the City of the Sun: Islam and the Renaissance Utopia of Tommaso Campanella H. R. Woudhuysen: The Foundations of Shakespeare's Text J. G. A. Pocock: The Re-Description of Enlightenment Andrew Hadfield: Michael Drayton and the Burden of History Eric Foner: Abraham Lincoln: The Great Emancipator? Gillian Beer: Revenants and Migrants: (...) Hardy, Butler, Woolf and Sebald Stephen Banfield: Scholarship and the Musical: Reclaiming Jerome Kern Brian Simpson: The Rule of Law in International Affairs Christopher Bayly: 'The Nation Within': British India at War 1939-47 John Vickers: Economics for Consumer Policy Gillian Feeley-Harnik: The Geography of Descent Susan Gathercole: Working Memory and Learning During the School Years Lothar Ledderose: Carving Stone Sutras before the World Ends: The Inscription of 1118 CE at Cloud Dwelling Monastery near Beijing. (shrink)

This chapter focuses on how life after uploading will differ from life today. These differences are substantial: people will be able to alter their shape and appearance, travel at the speed of light, live comfortably throughout the solar system, and even dwell in artificial realities of their own design. It's important to note, however, that these differences are fundamentally superficial. We will laugh, cry, love, despair, strive for goals, and sometimes fall short. We will care for our friends and family, (...) seek reassurance when in doubt, make music, work hard and take breaks, as people have done for thousands of years. In the end, despite all the changes to our bodies, environments, and capabilities ‐ we will still be human. (shrink)

Polanyi broke through the notion that science has a distinct methodology and epistemology which sets it apart from the other cultural disciplines (law, medicine, music). When it came time to address the issues of how Christianity functions, however, Polanyi unfortunately lapsed into romantic notions based upon his own ill-informed and marginal participation in the religious enterprise. By way of addressing this deficiency, my study puts forward seven theses designed to demonstrate that everything which Polanyi put forward regarding the transmission of (...) a scientific heritage through a successive series of apprenticeships can be seen as functioning within the religious enterprise as well. Then, when it comes to the role of masters in pursuing lines of inquiry which sometimes lead to self-transforming acts of discovery, such feats can be understood as defining the function of creative theologians and pastors who both exhibit and transform the tradition in which they dwell. In conclusion, my inquiry will attempt to show that, when Polanyi’s own inadequate assessment of religion is set aside, one comes to a proper understanding as to how religious pedagogy actually functions within the Christian enterprise. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Sharing BreathJody Sperling (bio)My work as choreographer dwells on the inseparability between breath and atmosphere. There are no firm boundaries between the air we breathe in, the air surrounding us, and the air enveloping the planet. This is as true for air as it is for water—there is only one global ocean, although by convention we divide the seas into named regions. When you move through the ocean (...) of air enveloping you, you displace it and create dynamic unseen wakes in your midst.Beginning with my dance, "Turbulence" (2011),1 I sought to visualize such patterns of air disturbance into kinetic sculptural forms. To do so, the six dancers deployed Loie Fuller-style costumes, disquieting the air and materializing its gyrations. An early innovator of performance technology, Fuller danced in robes fashioned from hundreds of yards of silk with embedded wands that extended her body's motion into space. Serendipitously introduced to Fuller's work in 1997, I became seduced by the genre for the way it imbues the doer with an expanded sense of self. Whirling in the Fuller-style garments, I felt, and still feel, integrated into the atmosphere as an eddy or gust.With "Wind Rose" (2019),2 a collaboration with composer Matthew Burtner, I focused on making the connections between breath and wind palpable. Wind is said to be the breath of the planet, a driver of earthly life. A windrose is a meteorological tool that graphically represents wind speed, direction and variability at a particular time and place. I thought, what if I designed choreography with the intention not to create human motion, but in order to create a windrose—an atmospheric snapshot—in the performing space? At the start of "Wind Rose," the five dancers stand shoulder to shoulder and circle the stage so as to forge a human turbine. As the dancers accelerate their cyclonic motion, they push a swelling air wave towards the audience.For another section, I choreographed eight motions, each of which was connected with a sound. The sounds were made either by the dancers whipping their Fuller-style costumes through the air or by the dancers' breathy vocalizations. Matthew took my eight sound-breath-moves and composed a fugue. The dancers perform this music-motion score so that [End Page 155] they stir up a breeze pattern—a fugue that can be felt, as well as seen and heard.Wind has been changing along with climate. Locally, winds are becoming more chaotic. Globally, the high winds are slowing down and the polar jet stream is becoming wonky. But we are not in the habit of listening to the changing winds. One of the root causes of climate inaction has been a deep disconnect between people and their atmosphere. Many among the privileged live out their lives in climate-controlled habitats. Recently, though, even wealthy nations and the elite are starting to feel the heat. These days, no matter how deeply you bury your head in the sand, your butt will still get scorched.As a way of grappling with life in the Anthropocene, I have been formulating an open inquiry called ecokinetics. I conceived ecokinetics as a choreographic corollary to ecoacoustics, an environmental mode of music composition pioneered by Matthew Burtner, my long-time musical collaborator. According to Matthew, "ecoacoustics embeds environmental systems into musical and performance structures using new technologies" (Burtner). Ecokinetics asks, how can we relate human movement to environmental systems? How can choreography (aesthetically patterned human motion) illuminate, echo, expand upon the movement vectors present at a site and help us better understand local ecologies? How can dance entwine with media technologies to embody the processes of natural systems? Ecokinetics is part personal movement practice, part pedagogical tool, and part performance methodology.In its essence, ecokinetics repudiates the separation of humans from nature, a pervasive Colonialist mindset that needs constant undoing. In order to make progress on climate change, we must feel—truly and deeply—that we are part of the planet and not apart from it. This is the opposite of what the billionaires' space club aims to accomplish. Bezos, Branson, and Musk, et al. view distance from Earth as a... (shrink)

The Russian poet and anthroposophist Andrei Belyi has four poems from 1918 with the same title, Anthroposophy [Antroposofiia]. These are love poems and anthroposophy is represented in them as a living spiritual being of female gender. The principal attribute of this being is a "clear gaze," "flashing eyes," which regard the poet from the precincts of light, of blueness, from waves of aromas and musical harmonies. These verses are clearly oriented to the poem "Three Encounters" [Tri vstrechi] by Vladimir (...) Solov'ev, the theme of which is the thrice-repeated vision of what Solov'ev recognized as the Sophia of the ancient Gnostics and of Jakob Böhme. How are we to understand Belyi's enigmatic poetic intent? How does anthroposophy—a "science of the spirit," an occult system created by Rudolf Steiner—become in Belyi's imagination now a "sister," now a beloved—"tender, gentle, and kind"—linked to the poet by a mysterious and fateful meeting in eternity? Most importantly, what does this anthropomorphism of anthroposophy mean? The suggestion that these verses may have had real prototypes poems does not eliminate the question. But the question is resolved if we turn to a very well-known and in certain respects key lecture by Steiner entitled "The Essence of Anthroposophy," which he gave in Berlin in February 1913, and which Andrei Belyi attended. This lecture not only provides the key to those of Belyi's poems of interest to us here; it also brings us directly to the theme of our present study, inasmuch as its content creates a bridge between Russian religious culture of the late nineteenth and the early twentieth centuries, developing under the aegis of Sophia, and the latest German gnosis. It is therefore worth dwelling on it especially. (shrink)

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and (...) L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest. (shrink)

Responding to the interlocutors, Ricoeur, utilizing Kantian aesthetic theory, addresses the nature of the work of art, its universality and communicability, and explores its temporality — its ‘transhistoricity’ — by utilizing concepts derived from medieval philosophy, including ‘sempiternality’ and ‘monstration’. He expands on hermeneutics, defends it against charges of relativism, expatiates on the danger of aestheticism, and explains the value of mimesis in art. He explores the different art forms, focusing with Merleau-Ponty on Cézanne as a model of the ‘ipseity’ (...) of the artist; and he dwells particularly on the singularity of music and its ‘pathic’ moods. A discussion of literature culminates in an emphasis on the special importance of Holocaust texts. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

The social function of jazz in its theoretical aspects is the subject of the present article. The author opens his discussion with a technical analysis of jazz music, on the basis of which the social significance of jazz phenomena is elucidated.The peculiar effects of jazz music are by no means limited to the upper layers of society ; they permeate the whole of society. The music has a pseudo-democratic quality, characteristic of the monopolistic phase of capitalism.Jazz music is usually trite, (...) and its orginality, however limited, manifests itself chiefly in the variations of forms in which it is reproduced*The realm of jazz ranges from „salon music“ to the military march* The former expresses a false individualism ; the latter a false collectivism. The Jazz represents a sort of conduit between these two poles, particularly in its form of „hot music“. A theory of jazz will have to dwell especially on this ambivalence. Its meaning is explained by an analogy to eccentric clowns whose inability to obey the norm of regular movement reveals itself finally as a superiority over these rules, which allows the eccentric to play with them. Thus the idea of jazz is to prove that divergence from the norm is observed as a rule throughout the total structure.The pattern of this breaking and observing of the rule at the same time is the syncope. The mechanism of its function is interpreted as a kind of unconscious and paradoxical unity of fear and fulfillment, through obedience and reward by society. The antagonistic character of jazz is expressed by the formula that the „subject of jazz“ permits itself to be annihilated by society in order to feel itself endorsed and vindicated by society.L'article présente certains éléments d'une théorie sociale du Jazz* Il utilise en particulier l'analyse technique, dont les résultats sont interprétés comme expression psychologique de réalités sociales. Le Jazz est défini „phénomène d'interférence“ entre une liberté d'improvisation du sujet, liberté tout apparente, et l'instance sociale à laquelle le sujet est soumis et qui est représenté dans la musique par le rythme et le son fondamentaux rigidement maintenus. Le Jazz lui-même n'est pas irrationnel ou archaïque, il est donné comme tel, il est „fuite du monde des marchandises dans le monde des marchandises“ ; ses traits archaïques sont en tant que tels modernes, c'est-à-dire des régressions psychologiques. C'est pourquoi, précisément en tant que marchandise, il doit se donner à la fois pour ancien et nouveau, original et banal.A l'origine, le produit est banal, originales sont, dans des limites très étroites, les transformations de celui-ci par la reproduction. Mais l'apparente liberté de la reproduction est démasquée par la démonstration qu'elle ne touche pas à la „substance“ banale. Même la rationalisation, en apparence progressive, du processus du travail entre production et reproduction ne correspond pas à la réalité. Particulièrement importante, sur ce point,, est la signification de l'amateur comme représentant du public. Au pôle opposé on trouve la musique d'art d'hier, dépravée et dépouillée de ses éléments progressifs : celle de l'impressionnisme.L'extension du Jazz est limitée par les pôles extrêmes de la musique de salon d'une part, et de la marche d'autre part, celle-là expression d'une illusoire subjectivité, celle-ci expression d'une instance sociale inhumaine. Entre ces extrêmes la „Hot Musique“ prend une position intermédiaire paradoxale et elle s’est stabilisée aujourd’hui en „Jazz classique“. C’est celui-ci que doit considérer en premier lieu la théorie du Jazz. Celle-ci est rapprochée de la figure de 1’ „excentrique“ : de même que l’incapacité de celui-ci d’obéir aux lois du mouvement s’affirme comme un jeu supérieur, ainsi l’idée du Jazz est de démontrer la rupture de la norme — la syncope — à travers toute la structure comme l’achèvement de la norme même. Le mécanisme qui agit dans ce cas, comme dans celui des „steeps“ ralentis (Gehtanz) est de nature érotique : unité d’angoisse, de tentative d’évasion, et d’assouvissement par le fait de trouver dans la société à la fois place et récompense. (shrink)

The Artist and Religion in the Contemporary World Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as (...) most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)

Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear (...) their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)

An extended illustration from Merleau-Ponty’s Phenomenology of Perception describes the interplay of habit, sedimentation, and intersubjectivity in the practice and performance of a skilled organist. This paper takes up Merleau-Ponty’s example in order to describe some of the phenomenological characteristics of embodied musical performance. These characteristics point toward an intersubjective event of “consecration,” as Merleau-Ponty describes it, in which the musician adopts the role of rhetor, inviting the audience into a shared dwelling place.

Andrey Bely was an important member of the Russian symbolist movement of the late 19th and early 20th centuries. This essay presents a summary of the development of his ideas regarding the origins of image and symbol in poetic language. For Bely language organizes chaos. The poet finds images in the internal world of dreams. Music has an organizing power beyond that of language, which language attempts to imitate. Under the influence of Vladimir Solovyov he looked to the union of (...) Divine Wisdom or Sophia with the Eternal Logos as the principle behind symbolic images. Later, under the spell of Rudolf Steiner, he found the source of inspiration in the eternal dwelling of the Logos from which the human ego descends into flesh. The task of the poet is to recover the memory of the time before he left the realm of the Logos and to return to that realm by participating in Christ's ascent to the Cross. The autobiographical novel Kotik Letaev gives an account of recovering memory from before birth and the need to be joined with Christ crucified. (shrink)

Andrey Bely was an important member of the Russian symbolist movement of the late 19th and early 20th centuries. This essay presents a summary of the development of his ideas regarding the origins of image and symbol in poetic language. For Bely language organizes chaos. The poet finds images in the internal world of dreams. Music has an organizing power beyond that of language, which language attempts to imitate. Under the influence of Vladimir Solovyov he looked to the union of (...) Divine Wisdom or Sophia with the Eternal Logos as the principle behind symbolic images. Later, under the spell of Rudolf Steiner, he found the source of inspiration in the eternal dwelling of the Logos from which the human ego descends into flesh. The task of the poet is to recover the memory of the time before he left the realm of the Logos and to return to that realm by participating in Christ's ascent to the Cross. The autobiographical novel Kotik Letaev gives an account of recovering memory from before birth and the need to be joined with Christ crucified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cogito, Ergo Sum: The Life of René DescartesDennis Des CheneRichard Watson. Cogito, Ergo Sum: The Life of René Descartes. Boston: David R. Godine, 2002. pp. viii + 375. Cloth, $35.00.Somewhere between hagiography and debunking lies truth. Or so we may think: the biographer's sources are almost always tipped one way or the other, and it is his or her job to establish, or divine, the way of authentic (...) fact and, if facts fall short, then of sturdy sober hypothesis. In general the debunker has more fun, especially when the weight of tradition favors the ennobling, if not the beatification, of its subject.Descartes is a case in point. Until a few years ago, there was in English no satisfactory biography. Now there are three: an "intellectual biography" by Stephen Gaukroger, the Descartes of Geneviève Rodis-Lewis, and Watson's. Gaukroger dwells on Descartes's natural philosophy, especially in the early years. Only after 300 pages does he reach the period of the Discourse, Descartes's first published work. Rodis-Lewis offers a more even-handed treatment, the fruits of a lifetime of study. Her Descartes resembles, not the modern scientist or professional philosopher, but the ancient sage for whom metaphysics is a once-in-a-lifetime affair, and even natural philosophy subordinate to wisdom. Watson's Descartes is an altogether more worldly type, born into a family of lawyers, well-connected, touchy [End Page 113] about his place in social and scientific circles, and not all that interested in what we think of now as philosophy. Nor, for that matter, is Watson: you will look in vain for an analysis of the Meditations, a discussion of method, or a definition of générosité. (Watson does conclude, I should note, with a discussion of Descartes's doctrine on the soul, whose title might well have been "The future of an illusion" if Freud had not used it already.)If you like your philosophy uncluttered by context, if you find it worthwhile to read or write about "Cartesian skepticism" or "Cartesian dualism" without troubling yourself to understand who the historical Descartes was, or what might have moved him to confront the skeptics and save the soul, then Watson is not for you. It is emphatically a Life, not a Life and Works. It is, moreover, a life in the manner of many modern biographers, in which the biographer, rather than conceal himself behind the curtains of scholarly convention, figures into the narrative, retracing the steps of Descartes's passage to Italy, examining the baptismal certificate of Descartes's illegitimate daughter Francine, and eating lunch at the Queen Kristina restaurant "next door to the house in which Descartes died" (303). The quality of a biography thus written depends in part on the personality of its author (and in the case of Cogito Ergo Sum, the author's wife, who intervenes more than once on the side of common sense during their peregrinations). Watson is, to my mind, an agreeable companion, dedicated to the search for biographical truth, impatient with hagiographic fog and time-hallowed error, down-to-earth in his assessment of Descartes's motives and circumstances.One example to show the differences among the three biographies. In November 1618 Descartes met the future Latin schoolmaster Isaac Beeckman in Breda. Beeckman records with enthusiasm their joint endeavors in physico-mathematics over the next few months (Gaukroger has the details). It seems clear that the impetus for studying the various problems mentioned in Beeckman's Journal came from Beeckman, who had been pondering physical questions since 1613 or before. Descartes's contribution, at least at first, was his immense mathematical skill. Their interests lay largely within the "mixed mathematics" of the period, especially hydrostatics and mechanics. They also discussed music, an aspect of the "new science" now often neglected (but see H. F. Cohen, Quantifying Music [Dordrecht, 1984]). On New Year's day 1619 Descartes presented Beeckman with his Compendium musicæ (Gaukroger 74, Rodis-Lewis 51/29). A decade later, Descartes, having heard that Beeckman had appropriated the Compendium to himself, became angry and eventually, late in 1630, dismissed Beeckman with a masterpiece of de haut... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cogito, Ergo Sum: The Life of René DescartesDennis Des CheneRichard Watson. Cogito, Ergo Sum: The Life of René Descartes. Boston: David R. Godine, 2002. pp. viii + 375. Cloth, $35.00.Somewhere between hagiography and debunking lies truth. Or so we may think: the biographer's sources are almost always tipped one way or the other, and it is his or her job to establish, or divine, the way of authentic (...) fact and, if facts fall short, then of sturdy sober hypothesis. In general the debunker has more fun, especially when the weight of tradition favors the ennobling, if not the beatification, of its subject.Descartes is a case in point. Until a few years ago, there was in English no satisfactory biography. Now there are three: an "intellectual biography" by Stephen Gaukroger, the Descartes of Geneviève Rodis-Lewis, and Watson's. Gaukroger dwells on Descartes's natural philosophy, especially in the early years. Only after 300 pages does he reach the period of the Discourse, Descartes's first published work. Rodis-Lewis offers a more even-handed treatment, the fruits of a lifetime of study. Her Descartes resembles, not the modern scientist or professional philosopher, but the ancient sage for whom metaphysics is a once-in-a-lifetime affair, and even natural philosophy subordinate to wisdom. Watson's Descartes is an altogether more worldly type, born into a family of lawyers, well-connected, touchy [End Page 113] about his place in social and scientific circles, and not all that interested in what we think of now as philosophy. Nor, for that matter, is Watson: you will look in vain for an analysis of the Meditations, a discussion of method, or a definition of générosité. (Watson does conclude, I should note, with a discussion of Descartes's doctrine on the soul, whose title might well have been "The future of an illusion" if Freud had not used it already.)If you like your philosophy uncluttered by context, if you find it worthwhile to read or write about "Cartesian skepticism" or "Cartesian dualism" without troubling yourself to understand who the historical Descartes was, or what might have moved him to confront the skeptics and save the soul, then Watson is not for you. It is emphatically a Life, not a Life and Works. It is, moreover, a life in the manner of many modern biographers, in which the biographer, rather than conceal himself behind the curtains of scholarly convention, figures into the narrative, retracing the steps of Descartes's passage to Italy, examining the baptismal certificate of Descartes's illegitimate daughter Francine, and eating lunch at the Queen Kristina restaurant "next door to the house in which Descartes died" (303). The quality of a biography thus written depends in part on the personality of its author (and in the case of Cogito Ergo Sum, the author's wife, who intervenes more than once on the side of common sense during their peregrinations). Watson is, to my mind, an agreeable companion, dedicated to the search for biographical truth, impatient with hagiographic fog and time-hallowed error, down-to-earth in his assessment of Descartes's motives and circumstances.One example to show the differences among the three biographies. In November 1618 Descartes met the future Latin schoolmaster Isaac Beeckman in Breda. Beeckman records with enthusiasm their joint endeavors in physico-mathematics over the next few months (Gaukroger has the details). It seems clear that the impetus for studying the various problems mentioned in Beeckman's Journal came from Beeckman, who had been pondering physical questions since 1613 or before. Descartes's contribution, at least at first, was his immense mathematical skill. Their interests lay largely within the "mixed mathematics" of the period, especially hydrostatics and mechanics. They also discussed music, an aspect of the "new science" now often neglected (but see H. F. Cohen, Quantifying Music [Dordrecht, 1984]). On New Year's day 1619 Descartes presented Beeckman with his Compendium musicæ (Gaukroger 74, Rodis-Lewis 51/29). A decade later, Descartes, having heard that Beeckman had appropriated the Compendium to himself, became angry and eventually, late in 1630, dismissed Beeckman with a masterpiece of de haut... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature as Sheltering the HumanJohn Durham PetersLiterature as Sheltering the Human, by Frederic Will; 203 pp. Lewiston, Maine: Edwin Mellen Press, 1993, $69.95.This volume contains thirteen essays by Frederic Will, poet, critic, ex-professor of literature, autobiographer, translator, man of letters. All concern the peculiar powers of literature to offer spiritual comfort and protection against the storms of life.A cluster of four theoretical essays begins the collection. The first (...) surveys Husserl’s intellectual offspring, Merleau-Ponty, Sartre, and Heidegger, and seeks in their philosophies of language a grounding for literature’s uniqueness. The second essay argues that everyday language is always on the verge of entropy, but at its best, can be sublimated into literature. The third essay is a fiction of a crazed lit professor trying to master “the whole of literature” (p. 41). The eternally elusive object of “literature” turns out to evoke erotic-aggressive energies. The fourth essay on “Influencing the Past” rehearses some Benjaminian and Borgesian themes about literary influence being not causality, but intertextual resonance.The next set of five essays—which Will calls a “testimony” (p. 133) or “hit and run theology” (p. 138)—forms the core of the book. They treat “sheltering the human” in Homer, the Bible, Sappho, the Bhagavad Gita, and the epistles of St. Paul. Each ponders an enclosure—a retreat from battle, a womb, an act of translation, an inward wrestle of conscience, the blood of Christ—made of words. To my mind, this is the best part of the book: a steady meditation, graced with poetic lines and steeped in wide learning, on the proposition that “poetically man dwells.” Here Will performs the humane survey of world-literature he elsewhere extolls.The concluding section explores the relation of literature to the other arts. There is an essay on the gradual discovery of the oral core of Greek literature, largely through German scholarship, and one on literature’s relation to the other arts, which argues for its unique centrality among human expressive forms, thanks to its alleged continuity with the essential human possession, language. The penultimate essay meditates on Adorno’s aesthetics of music (concluding on an affirmative note not quite in tune with Adorno’s gloomy musings on capitalism), and the grand finale muses on the relation of art to life, via the dubious conceit of “art” as a great resort hotel.The book is remarkable for an intense and bald aestheticism that is exceedingly rare today. Will calls literature “the ripest offspring of language” (p. 1) and is happy to speak of masterpieces, genius, revelation, the autonomy of art, classics, humanism, values lodged in the structure of the universe (p. 125), universal validity (p. 131), “texts high in redemptive claim” (p. 147), the continuing necessity of the classical tradition (p. 190), and the artist as all but a different species (p. 200). The faith in a totality called “literature” is, to put it lightly, out of season in the academy today. As Will, a confirmed foe of [End Page 387] academic politics and pedantry, might well suggest, this may speak in its favor. Though Will’s aestheticism may refresh, I cannot help but wonder with Adorno whether some forms of expression and faith are objectively impossible in certain eras. Can “literature” sustain credulity today as anything more than one among many remarkable human practices?There is something, if I may say it, sheltered about these essays. If, as J. S. Mill said, eloquence is heard but poetry is overheard, this work is more poetry than eloquence. It features repeated and unannounced autobiographical intrusions. The self-reflexive quality supplies ready phrases to the reviewer: Will calls himself a “fallen contemporary classicist,” praises “high-minded eclecticism” and favors those thinkers who “sensualize knowing.” These traits make for a rare voice singing in the cornfields of Iowa.John Durham PetersUniversity of IowaCopyright © 1995 The Johns Hopkins University Press... (shrink)

themes among the essays resurface and resonate. Though our request for essays was broad and open-ended, we found that topics such as seeing, authenticity, interpretation, wholeness, care, and dwelling ran as undercur rents throughout. Our major hope is that each essay plays a part in revealing a larger whole of meaning which says much about a more humane relation ship with places, environments and the earth as our home. Part I. Beginnings and directions At the start, we recognize the (...) tremendous debt this volume owes to philosopher Martin Heidegger (1890-1976), whose ontological excavations into the nature of human existence and meaning provide the philosophical foundations for many of the essays, particularly those in Part I of the volume. Above all else, Heidegger was regarded by his students and colleagues as a master teacher. He not only thought deeply but was also able to show others how to think and to question. Since he, perhaps more than anyone else in this century, provides the instruction for dOing a phenomenology and hermeneutic of humanity's existential situation, he is seminal for phenomenological and hermeneutical research in the environmental disci plines. He presents in his writings what conventional scholarly work, especially the scientific approach, lacks; he helps us to evoke and under stand things through a method that allows them to come forth as they are; he provides a new way to speak about and care for our human nature and environment. (shrink)

_ Source: _Volume 47, Issue 3, pp 366 - 387 In this article, I focus on Heidegger’s conception of hospitality in his first and final lectures on Hölderlin’s _Germania_, _Remembrance_, and _The Ister_. I argue that the hospitality of the foreigner for Heidegger is the condition of possibility of dwelling understood as the happening of history.In the first section I analyze the notions of hospitality in Levinas and Derrida. The second section unpacks some of the senses of the earth (...) in Heidegger as the site of man’s historical dwelling, whereas in the third section I focus on holy mourning as the disposition that reveals the earth as the uncanny ground of history. In the final section, I spell out Heidegger’s conception of hospitality, the greeting, and the foreign guest. (shrink)

The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended to focus on a (...) single aspect of the problem. In this book the concepts of musica humana and musica mundane are related to philosophy, aesthetics, and the history of religion and are given a rightful place in the history of civilization. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)