The title of this article has been chosen deliberately, for we find interesting parallels in the careers and outlooks of Alexis de Tocqueville and the great Prussian theorist of war, Carl von Clausewitz whose master work, On War, remains sui generis. They overlapped in time, but, more importantly, their major theoretical works dealt in large measure with the same problem – the democratic revolution and its impact on politics. As Clausewitz argued, the warfare of the new era was caused by (...) the new political conditions which die French Revolution created both in France and in Europe as a whole, conditions that set in motion new means and new forces, and have thus made possible a degree of energy in war diat odierwise would have been inconceivable. It follows that the transformation of the art of war resulted from the transformation of politics. (shrink)

According to what is perhaps the dominant picture of reference, what a referential term refers to in a context is determined by what the speaker intends for her audience to identify as the referent. I argue that this sort of broadly Gricean view entails, counterintuitively, that it is impossible to knowingly use referential terms in ways that one expects or intends to be misunderstood. Then I sketch an alternative which can better account for such opaque uses of language, or what (...) I call “sneaky reference.” I close by reflecting on the ramifications of these arguments for the theory of meaning more broadly. (shrink)

Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is (...) only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities. (shrink)

There are some names which cannot be spoken and others which cannot be written, at least on certain very natural ways of conceiving of them. Interestingly, this observation proves to be in tension with a wide range of views about what names are. Prima facie, this looks like a problem for predicativists. Ultima facie, it turns out to be equally problematic for Millians. For either sort of theorist, resolving this tension requires embracing a revisionary account of the metaphysics of names. (...) Revisionary Millianism, I argue, offers some important advantages over its predicativist competitor. (shrink)

Stojnić et al. (2013, 2017) argue that the reference of demonstratives is fixed without any contribution from the extra-linguistic context. On their `prominence/coherence' theory, the reference of a demonstrative expression depends only on its context-independent linguistic meaning. Here, we argue that Stojnić et al.’s striking claims can be maintained in only the thinnest technical sense. Instead of eliminating appeals to the extra-linguistic context, we show how the prominence/coherence theory merely suppresses them. Then we ask why one might be tempted to (...) try and offer such a view. Since we are rather sympathetic to the motivations we find, we close by sketching a more plausible alternative. (shrink)

This dissertation sets out to answer the question ''What fixes the semantic values of context-sensitive referential terms—like names, demonstratives, and pronouns—in context?'' I argue that it is the speaker's intentions that play this role, as constrained by the conventions governing the use of particular sorts of referential terms. These conventions serve to filter the speaker's intentions for just those which meet these constraints on use, leaving only these filtered-for intentions as semantically relevant. By considering a wide range of cases, including (...) many involving confused and deceptive speakers, I argue that this 'constraint theory' provides a better account of linguistic reference than does any extant alternative, whether intentionalist or non-intentionalist. Along the way, I argue that semantics cannot depend on the reactions of idealized listeners, that speaker meaning is far less clear, and helpful, a notion than it is standardly taken to be, and that speakers needn't aim to be cooperative in order to fix the meaning of their terms in context. (shrink)

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critical, interdisciplinary framework of fetish, masculinity and sexuality studies, this research interrogates how audio technologies manufactured and intended for music production contexts become sexy. Applying a mixed-mode methodology, including an intensive discourse, image and material-semiotic analysis of an (...) ‘epic’ sexy gear thread, we collated extensive data about technological fetishization. Sexy gear discourse articulates themes of voyeurism, acquisition, control and animation – linking the fetish value of technological objects and their connoisseurship with the erotic potential of sexualized objects. Such discourses ultimately serve to maintain social order, and become sites for performing the maintenance work of hegemonic masculine formations. This research provides new insights into how hegemonic masculinities depend upon the organization of online and offline sociability around fetishized material objects. Furthermore, our findings align with those of current scholarship focused on representational politics of technoculture. (shrink)

As an empirical inquiry into the nature of meaning, semantics must rely on data. Unfortunately, the primary data to which philosophers and linguists have traditionally appealed—judgments on the truth and falsity of sentences—have long been known to vary widely between competent speakers in a number of interesting cases. The present article constitutes an experiment in how to obtain some more consistent data for the enterprise of semantics. Specifically, it argues from some widely accepted Gricean premises to the conclusion that judgments (...) on lying are semantically relevant. It then endeavors to show how, assuming the relevance of such judgments, we can use them to generate a useful, widely acceptable test for semantic content. (shrink)

Frege famously claimed that variations in the sense of a proper name can sometimes be ‘tolerated’. In this paper, we offer a novel explanation of this puzzling claim. Frege, we argue, follows Trendelenburg in holding that we think in language—sometimes individually and sometimes together. Variations in sense can be tolerated in just those cases where we are using language to coordinate our actions but are not engaged in thinking together about an issue.

In “Demonstratives”, David Kaplan introduced a simple and remarkably robust semantics for indexicals. Unfortunately, Kaplan’s semantics is open to a number of apparent counterexamples, many of which involve recording devices. The classic case is the sentence “I am not here now” as recorded and played back on an answering machine. In this essay, I argue that the best way to accommodate these data is to conceive of recording technologies as introducing special, non-basic sorts of contexts, accompanied by non-basic conventions governing (...) the use of indexicals in those contexts. The idea is that recording devices allow us to use indexicals in new and innovative ways to coordinate on objects. And, given sufficient regularity in the use of indexicals on such devices, linguistic conventions will, over time, come to reflect this innovation. I consider several alternatives to this ‘character-shifting’ theory, but none is able to account for the data as well as the present proposal. Many face additional theoretical difficulties as well. I conclude by explaining how the character-shifting theory not only retains many of the virtues of Kaplan’s original semantics, but also coheres with a plausible view on the nature of semantic theorizing more generally. (shrink)

Significant variations in the way objects appear across different viewing conditions pose a challenge to the view that they have some true, determinate color. This view would seem to require that we break the symmetry between multiple appearances in favor of a single variant. A wide range of philosophical and non-philosophical writers have held that the symmetry can be broken by appealing to daylight viewing conditions—that the appearances of objects in daylight have a stronger, and perhaps unique, claim to reveal (...) their true colors. In this note we argue that, whatever else its merits, this appeal to daylight is not a satisfactory answer to the problem posed by perceptual variation. (shrink)

Describes Bradley's doctrine of 'immediate experience' as a starting point of knowledge, then traces the development of the of subject and object out of immediate experience, with the question of independence, and with the precise meaning of the term 'objectivity.'.

T. S. Eliot left Harvard during his third year of study in the department of philosophy and went to England. Forty-six years later he authorized the publication of his doctoral dissertation. Here we have a reprint of his sympathetic but not entirely uncritical study of the English idealist philosopher F. H. Bradley.

Evans (1973)’s Madagascar case and other cases like it have long been taken to represent a serious challenge for the Causal Theory of Names. The present essay answers this challenge on behalf of the causal theorist. The key is to treat acts of uttering names as events. Like other events, utterances of names sometimes turn out to have features which only become clear in retrospect.

We consider a range of cases—both hypothetical and actual—in which agents apparently know how to \ but fail to believe that the way in which they in fact \ is a way for them to \. These “no-belief” cases present a prima facie problem for Intellectualism about knowledge-how. The problem is this: if knowledge-that entails belief, and if knowing how to \ just is knowing that some w is a way for one to \, then an agent cannot both know (...) how to \ and fail to believe that w, the way that she \s, is a way for her to \. We discuss a variety of ways in which Intellectualists might respond to this challenge and argue that, ultimately, this debate converges with another, seemingly distinct debate in contemporary epistemology: how to attribute belief in cases of conflict between an agent’s avowals and her behavior. No-belief cases, we argue, reveal how Intellectualism depends on the plausibility of positing something like “implicit beliefs”—which conflict with an agent’s avowed beliefs—in many cases of apparent knowledge-how. While there may be good reason to posit implicit beliefs elsewhere, we suggest that there are at least some grounds for thinking that these reasons fail to carry over to no-belief cases, thus applying new pressure to Intellectualism. (shrink)

Annotation. "This trim publication satisfies a much-felt need among teachers of Indian philosophy, who badly want introductions to the several systems of classical Indian thought such as Professor Deutsch provides."--Journal of Asian Studies.

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

In this paper I explore the production aesthetics that define the sound of most arranged traditional music albums produced in the early 2000s in Istanbul,Turkey. I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics,and is often described by studio musicians and (...) engineers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments. Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts,in contrast to parlak has no relation to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.Parlak and büyük ses became widespread after 2000,accompanying the paradigm shift of Istanbul studios from analog to digital workflows. Parlak and büyük ses are of interest for reasons that transcend music-aesthetics. The successful creation of mixes with parlak and büyük ses necessitates a palpable change in the performance practice of folk music instruments, as well a fundamental reconfiguration of the social structure of music-making, which in turn involves new musical competences and conceptualizations of musical practice. Parlak and büyük ses are not just a result of using a particular set of technologies (i.e., microphones or effects plugins), but instead arise from arduous and detailed arrangement and nonlinear editing work that is made feasible through DAW (digital audio workstation) systems. Although parlak and büyük ses index the transformation of traditional music aesthetics in the context of digital audio recording production, and their production is at the forefront of concerns of the professionals working in the recording studio environment, the terms are never mentioned in published music criticism, and only usually uttered in the studio context at the inception of a project and at the completion of a mix. Considerable preemptive work is done by studio musicians, engineers, and arrangers to avoid the need for the terms to be mentioned at all. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

Due in no small part to Kant's own seemingly dim views on the value of animals, Kantian ethics has traditionally been understood to be rather unfriendly ground for arguments in favor of vegetarianism. This has started to change recently, which raises the question: do Kantian approaches offer a way of defending vegetarianism that doesn't run afoul of the sorts of futility worries that afflict consequentialist arguments for vegetarianism? I argue that Kantian approaches in fact face an analogous worry, due to (...) their need to explain why eating meat ought to be understood as a disrespectful act simpliciter, rather than only in certain circumstances. (shrink)

In addition to ordinary conversations among relatively small numbers of individuals, human societies have public conversations. These are diffuse, ongoing discussions about various topics, which are largely sustained by journalistic activities. They are conversations about news – what is happening now – that members of various groups (such as the residents of a certain country, a certain town, or practitioners of a certain profession) need to know about in their capacity as members of those groups, and about how to react (...) to the news. Our topic in this chapter is a type of resistance to evidence that can arise at the level of these public conversations, rather than at the level of individual agents. We call it “relevance-based resistance to evidence”. A public conversation exhibits this kind of evidence resistance when it becomes overly focused on topics that members of the group that the conversation concerns do not in fact need to know about qua members of the group – topics which are, in a word, irrelevant. We argue that the risks of such relevance-based knowledge resistance are significantly amplified by certain structural features of online discourse. (shrink)

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in (...) twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? -/- In Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Traditions sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library. (shrink)

Jessica Keiser’s Non-Ideal Foundations of Language is a serious, sustained attempt to engage in systematic philosophy of language while leaving aside some of th.

Understanding how recorded and amplified stage musics contribute towards producing the Anthropocene necessitates attending to complex transnational flows of material, capital and labor, and how they coalesce into technological objects. This is complicated by the wide array of sites, practices and knowledges involved during various stages of the production process, from initial resource extraction, to smelting, component manufacturing, technology assembly, and distribution. To develop a suitable technological ethics, and to understand what happens to environments and to human, animal and plant (...) lifeworlds, requires one to resist abstraction and undertake a global accounting of resource ecologies with recourse to planetary-scale political economy. Towards this goal, I provide a partial account of an early 2000s mic preamp, a mundane but nonetheless fetishised recording studio technological object. I focus on two metals, tin and tantalum, that are primarily extracted for electronics manufacturing, and two building blocks of electronics, solder and capacitors, which are essential for making contemporary electronics. (shrink)

While ethnomusicologists often write about musical instruments and engage with social theories, these two predilections are typically distinct, and rarely are instruments theorized let alone considered in social terms. Drawing on recent work in Science and Technology Studies, I argue for a study of the social where musical objects (including instruments) and people are actors within patterned heterogeneous networks. I begin with literary examples of instruments framed as having agency, then move to the treatment of instrument-agency within organology. As an (...) exemplar for this methodology, I consider the social life of the saz, an ubiquitous lute from Turkey. (shrink)

Why would anyone purchase expensive, natural resource-intensive, and seemingly obsolete material carriers of music when streaming providers provide unlimited access to over 40 million songs for a small monthly fee? As I will show, we can no longer assume that contemporary interest is driven solely by a collector’s market or because of the audible qualities of the vinyl listening experience, and must attend to the many ways people engage with record objects today – and by extension, the vinyl record as (...) an ontological multiple. Through an analysis of Record Store Day 2015 and affiliated phenomena including YouTube unboxing videos, other social media activity and the Discogs resale market, I will demonstrate that the vinyl record gains value when the lived experience of materiality becomes an event and enables the performance of self in social contexts. As I will show, while certain types of actors have appreciably benefitted from the recent revival of interest in vinyl (e.g. brick and mortar stores, mastering engineers, manufacturing plants, and ancillary service industries), others have not to the same extent (e.g. musicians, independent record labels). (shrink)

In recent years there has been an increasing awareness that a comprehensive understanding of language, cognitive and affective processes, and social and interpersonal phenomena cannot be achieved without understanding the ways these processes are grounded in bodily states. The term ‘embodiment’ captures the common denominator of these developments, which come from several disciplinary perspectives ranging from neuroscience, cognitive science, social psychology, and affective sciences. For the first time, this volume brings together these varied developments under one umbrella and furnishes a (...) comprehensive overview of this intellectual movement in the cognitive-behavioral sciences. (shrink)

A variety of eating and purchasing practices, in particular vegetarianism, are often motivated via an appeal to their expected good consequences. Lurking in the background, however, is the question: can I really hope to make a difference via my purchases in a social world as complex and wasteful as our own? I review the evidence as it stands and conclude that there are good reasons to suspect that one probably does not make a difference directly via one's purchases. That said, (...) there may be some related, though less direct, reasons to be vegetarian. (shrink)

Recently, a shadow has been cast over how geographical scale has been theorized. Neil Brenner has argued that scale risks becoming a empty concept because it has been conflated with other terms in geography such as place, region, and space; Marston, Jones, and Woodward have proposed doing away with scale altogether; while Wood has accused geographers of having a “scale fetish.” The following article defends the theory of scale against these various detractors and attempts to become a bulwark to support (...) the many contributions that geographers have made to effectively characterizing the socio-spatial world. I outline four ways of understanding geographical scale: measurement, size, hierarchy, and relation. I then argue for an understanding of scale that is relational because I believe it provides the most adequate language to characterize how geographers have come to understand the social ontology of the spatialworld. Moreover, I set out to show how the relational description of scale, complements other research on scale, which has shown the importance of scale in the production of geographical difference and uneven social relations. Hence, the understanding of scales relationally, allows for people to have relative positions in the world. Finally, I speculate on two implications that the understanding of scale relatively has for characterizing the effects of globalization: 1) the possibilities that this understanding has for confronting a dominant tenant in the ideology of neoliberalism; 2) the promise that it offers for forms of political resistance. (shrink)

Clinical Psychology is past due for a revolution. Psychotherapist Eliot Rosenstock proposes a philosophical foundation for mental health treatment based on the writings and ideas of Slavoj Žižek.

Using the later works of Wittgenstein, this paper investigates the intricate ways in which the will is related to mental imagery. It examines how "seeing" is subject to the will in a different way from "forming an image". Although it is unwise to posit a model of images which maintains that images are directly willed inner objects - just like outer objects, only located in our heads - this model is often incorrectly embraced by philosophers and psychologists. A proper understanding (...) of the relationship between seeing and imaging will also help solve the dilemma posed by a visual mental image that can be both intentional (i.e., subject to the will) and yet unintentional (i.e., forced upon one). (shrink)

Using the later works of Wittgenstein, this paper investigates the intricate ways in which the will is related to mental imagery. It examines how "seeing" is subject to the will in a different way from "forming an image". Although it is unwise to posit a model of images which maintains that images are directly willed inner objects - just like outer objects, only located in our heads - this model is often incorrectly embraced by philosophers and psychologists. A proper understanding (...) of the relationship between seeing and imaging will also help solve the dilemma posed by a visual mental image that can be both intentional (i.e., subject to the will) and yet unintentional (i.e., forced upon one). (shrink)

A community, for ecologists, is a unit for discussing collections of organisms. It refers to collections of populations, which consist (by definition) of individuals of a single species. This is straightforward. But communities are unusual kinds of objects, if they are objects at all. They are collections consisting of other diverse, scattered, partly-autonomous, dynamic entities (that is, animals, plants, and other organisms). They often lack obvious boundaries or stable memberships, as their constituent populations not only change but also move in (...) and out of areas, and in and out of relationships with other populations. Familiar objects have identifiable boundaries, for example, and if communities do not, maybe they are not objects. Maybe they do not exist at all. The question this possibility suggests, of what criteria there might be for identifying communities, and for determining whether such communities exist at all, has long been discussed by ecologists. This essay addresses this question as it has recently been taken up by philosophers of science, by examining answers to it which appeared a century ago and which have framed the continuing discussion. (shrink)

The blackhole at the center of consciousness reveals its event horizon in bursts of neon.

This book will be of great interest to all students of Hinduism, students of both Eastern and Western philosophy, and spiritual seekers who wish to better understand this ancient Indian tradition of non-dualist thought.

Les philosophes politiques contemporains font très souvent usage de l’histoire des idées politiques pour supporter leurs propres recherches. Il ne va cependant pas de soi que l’histoire ait quoi que ce soit à offrir à la philosophie politique contemporaine. Pourquoi, en effet, devrait-on penser que l’histoire des idées politique peut être utile pour développer des outils normatifs pertinents pour le monde contemporain? Dans ce chapitre, je suggère que le travail historique est un outil précieux pour penser ou repenser les questions (...) et problèmes traités par la philosophie politique contemporaine. Si c’est le cas, c’est, d’abord, parce que la philosophie politique est un entreprise critique et, ensuite, parce que l’histoire des idées politiques est une méthode critique dont la philosophie contemporaine peut et devrait se nourrir. Je soutiens de plus que si l’histoire des idées peut jouer ce rôle, c’est parce qu’elle est une forme de pratique de la méthode wittgensteinienne de l’enquête comparative et de la représentation synoptique. (shrink)