The article examines the reduction of architecture to the dimension of utility which results in placelessness. The modern redefinition of science as “knowing-making” is essential to this reduction, although it has fundamental and forgotten importance. Drawing upon Martin Heidegger’s and George Grant’s critique of technology, and the ideas of Alberto Pérez-Gómez and Charles-Francois Viel, the significance of the complex relations between theory and practice in architecture will be explored in the context of Kimberly Dovey’s notion of the cycle of lived-space. (...) A re-definition of modern “knowing-making” reveals a semioticlevel which contains new possibilities for meaningful and environmentally attuned architecture within the technological framework. I suggest “designing-building” as an alternative, understood as a process of poetic recreation of meaningful spaces. (shrink)

This article argues that sustainability is essentially a contested concept that not only cannot be sufficiently defined in a one-forall blueprint, but requires a new mode of self-actualization of human potential in dialogical, cooperative learning processes. Inherent aporias and their ethical implications are illustrated by an analysis of the mainstream interpretation of the sustainability concept in the context of the relationship between the logic of accumulation and improvement and insatiable human desires as off-springs of a deeper ontological transformation of modernity. (...) A philosophical account of technology and modern sciencewill be introduced in order to investigate overconsumption driven by mimetic desires and the transformative and dialectic dynamics of desire. A contemplative learning model is suggested as a useful basis for a reasonable interpretation of the sustainability concept. (shrink)

Mainstream environmental groups have long been criticized by more radical activists as being too willing to compromise with industry and development interests. Radical groups such as Earth First! and Earth Liberation Front were formed as a reaction explicitly against perceived failures of mainstream groups. Although the radical activism employed varied from direct action in the form of aggressive civil disobedience coupled with eco sabotage, the tactics of the radical groups suggest two strands of movement. For example, the actions and demands (...) of Earth First! seemingly fit their conviction that compromise is a betrayal of their moral convictions and results only in further deterioration of environmental protection, and the radical activism of this group can be seen to fit well within historically accepted norms of protest movements within constitutional democracies. In contrast, Earth Liberation Front does engage in what might be called ecoterrorism, a form of political violence. This article addresses the following emerging questions: Is an uncompromising approach an effective strategy for radical environmental activism in fostering positive environmental change? What is required of constructive democratic action? Can radical environmental activism be a resource for cooperative practices and coalition building? These questions relate to ecological justice, which is growing in importance as a paradigm that combines social concerns about the environment with issues of nature protection, thereby underlying the need for coordination of strategies and cooperation in order to bring about a positive change In this paper, we examine the positions and arguments of some radical environmental activists and their detractors, and analyse their moral beliefs and political attitudes. We claim that “No Compromise” is not an acceptable strategy for environmental activism. In the analysis that follows, we are not suggesting naively that only warm fellow-feelings, congeniality, and an overt willingness to compromise are reasonable responses to powerful contravening force. We argue instead that when used, strong - and even perhaps sometimes illegal - direct action can be conceptualized and carried out in a way that does not hinder all opportunities for effective compromise, coalition building, and the like, that are ultimately essential elements of most successful protest movements. We build on Martin Benjamin’s claim that compromise need not always involve moral capitulation or failure, but can be integrity-preserving. It can, we believe, be an effective means of moving a pro-environmental agenda forward. Key to our argument are the distinctions between moral and political compromise, and the interrelations between moral and political community. Seeing oneself as a part of a larger community in which decisions must be made, and recognizing responsibility towards the members of a moral community is essential to a full appreciation and effective use of compromise. These considerations are anchored in an approach that constructively links participatory democracy and radical activism. (shrink)

The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of (...) the musical aspects of existence as they appear in various philosophical works bringing together different accounts of music and aesthetics and pointing towards phenomenological study as a methodology for everyday aesthetics. While there are many different areas of music phenomenology such as studies of sound and listening, studies in perception of musical works, in experience of artistic creation, in singing and playing musical instruments, and phenomenology of transcendent or religious horizons of the experience of music, it is most promising—I suggest—to look at phenomenological studies of music from the perspective of everyday happenings and discoveries of musical aspects of life. Thus, I attempt to display the uses of phenomenology in finding musical aspects of everyday existence as well as in describing and illuminating the art of music. A look at Roman Ingarden’s and Mikel Dufrenne’s most intuitive and promising ideas will be broadened with a perspective from Don Ihde and Arnold Berleant. (shrink)

Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to describe and (...) name what we listen to. Author further examines Scruton's theory, his concept of metaphor and metaphorical transfer and also his account of experience of music understood as an experience of double intentionality. In conclusions, author argues that Scruton's account of music is inspirational and phenomenologically true even if -author feels - it fails to explain what is really unique in the listening experiences of music. (shrink)

Autorka nawiązuje do artykułu J.F. Lyotarda „A Few Words to Sing” w której filozof podejmuje się analizy utworu Sequenza III Luciano Berio napisanego i śpiewanego przez Cathy Bereberian. „A Few Words to Sing” jest przykładem podejmowania przez Lyotarda tematów muzycznych „na granicy”. W tym konkretnym przypadku autorka sugeruje, że wspomniana analiza bardzo dobrze wpisuje się w postulowane przez Lyotarda kategorie figury oraz oddania głosu [ofierze] w opozycji wobec tego co [czysto]estetyczne (resisting the aesthetic). Zainteresowania muzyczne Lyotarda, być może nie tak (...) wyeksponowane jak jego zainteresowania obrazem (choć kategorie figury i gestu okazują się łatwo przekraczać granice rodzajów sztuki) także bardzo wyraźnie wskazują na szczególny rodzaj [anty]estetyki uprawiany przez Lyotrada, gdzie udzielenie głosu ofierze staje się istotnym, jeśli nie podstawowym kryterium sztuki. (shrink)

Autorka rozważa relacje między wartościami, szczególnie moralnymi, a dziełem muzycznym. Przedstawiając najpierw rozumienie wartości w filozofii Romana Ingardena, a następnie przywołując przykładowe sformułowania moralizmu w odniesieniu do muzyki (autorstwa Rogera Scrutona, Platona i Petera Kivy’ego), autorka pyta, czy możemy uważać dzieło muzyczne za nośnik wartości moralnych. Następnie badając, w jaki inny sposób dzieło muzyczne może być związane z wartościami moralnymi, autorka dochodzi do wniosku, że relacje między wartościami moralnymi a dziełem muzycznym należą do stosunków subtelnych i być może tym, co (...) zawdzięczamy dziełom muzycznym jest umiejętność słuchania. (shrink)

This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate (...) part of musical experience. (shrink)

Author refers to theories of mater and form, trying to find a way to establish the material grounds for musical sound. From Aristotle basic definition of physis author turns to Roger Scruton and his doubts whether what listeners hear as music, tone and even sound may be found among the physical things.

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

Autorka przedstawia analizę pojęcia wstrząsu jako kategorii estetycznej użytej przez Th. Adorno w kontekście niemożności odbioru muzyki nowej. Nawiązując do Filozofii nowej muzyki oraz Teorii estetycznej autorka wyznacza kilka sposobów opisu i rozumienia wstrząsu, jakie znaleźć można u Adorno. Przy okazji śledząc tok myślenia filozofa zadaje sobie pytanie o to, czy wstrząs, o którym pisze Adorno jest zasadniczo czymś negatywnym, czym też może autor widzi w tym, gwałtownym sposobie reakcji na muzykę nową – ratunek.

a translation of A. Schoot "Kivy and Langer on Expressivity in Music".

Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...) ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music. (shrink)

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...) this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

Referat wskazuje na trudną do ukazania w pełni relację między wykonawcą muzyki wokalnej a jego ciałem. Autorka sugeruje, że różnice w traktowaniu (nazywaniu, określaniu i ukazywaniu) roli ciała w tej relacji wynikają z kulturowych nawyków. Z łatwości bądź trudności w odwoływaniu się do ciała jako ważnego elementu ekspresji, produkcji i ugruntowania twórczości artystycznej w tym twórczości muzycznej. Odwołując się do trzech tradycji wokalnych, do wokalizy, improwizacji i zabawy muzycznej, w których ciało traktowane było zawsze jako element tworzenia muzyki, czy to (...) poprzez instrumentalne potraktowanie ciała (np. jako elementu rezonującego) czy poprzez oparcie się na cielesnym ugruntowaniu dźwięku w postawie, w wykorzystaniu rąk i tradycyjnych rezonatorów piersiowego i głowowego w tradycji śpiewu operowego, autorka porównuje różny sposób odkrywania i zakrywania roli i znaczenia ciała. Analiza przykładów pochodzących z różnych tradycji i stylów muzycznych wskazuje na niezwykle silne cielesne osadzenie śpiewu. Różnica polega tutaj na uwidocznieniu tego osadzenia. Zależności pomiędzy wykonywaniem muzyki wokalnej a przygotowaniem i odpowiednim wykorzystaniem ciała są bardziej widoczne np. w tradycji afrykańskiej czy kanadyjskich Inuit, a zdecydowanie zakrywane (tj. np. czynione sprawą „techniki” i przygotowania wykonawcy) w europejskiej tradycji artystycznej śpiewu operowego. (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to Maurice (...) Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

Autorka chciałaby prześledzić niektóre schematy cielesnych zachowań i podstaw w odniesieniu do indywidualnego śpiewu oraz do gry na wiolonczeli w odniesieniu do pojęć piękna, wolności i przemocy. W rezultacie tych analiz chciałaby wskazać na przełamywanie zastanych cielesnych schematów na rzecz muzyki (lepszej gry, lepszego dźwięku, lepszego brzmienia) np. u wirtuozów instrumentalistów Mstislava Rostropovicha czy 2 Cellos a także we współczesnej pedagogice muzycznej oraz u śpiewaków wirtuozów muzyki popularnej, np. Whitney Houston. Zastanawianiu się nad tym, jak dochodzi do przełamania oraz „uwolnienia (...) się” ciała, o ile rzeczywiście z tym mamy do czynienia, w ekspresji wykonania towarzyszyć będzie pytanie o to, w jaki sposób i o ile to właśnie ciało/cielesność (rozumiana tutaj organicznie i funkcyjnie) dyktuje konkretne zachowania wyzwalając się stopniowo z nawyków i dyktatów kultury, a na ile należałby tutaj mówić o rewolucji estetycznej i zastępowaniu jednych schematów (a może ideałów) przez inne. (shrink)

Drawing on phenomenological literature author presents understanding of the aesthetic experience of the musical work pointing to several things: 1. the deep grounding of the experience in myth and Orphic tradition, 2. to the metaphor of building worlds and 3. to being in the moment as one of the most important description of the experience of musical work. Further on author underlines the dynamic as well as fickle character of the experience of musical work, suspended between the sensual audio experience (...) and the conscious mental one. Phenomenological descriptions capture the aesthetic experience of musical work as processual, subjective, emotional, quality based and unfinished, in which they realize perfectly the complexity of the experience, claims the author. (shrink)

A Few Notes on Aspect Seein g in Contemporar y Aesthetics In this paper author examines the problem of aspect seeing in reference to works of Ludwig Wittgenstein and Virgil C. Aldrich posing the question of whether they are applicable to experience of musical works. Drawing on examples from Wittgenstein’s Philosophical Investigations, author maintains that hearing a melody as solemn, sad, et cetera is neither universal nor unequivocal. Musical work, author suggests, does not present itself spontaneously to the listener. Conversely (...) it must be sought and found. To speak of aspect hearing or hearing as (as aesthetic hearing) in reference to music, one must seek out those qualities of musical work that are perceptual but also individually grasped in contrast to what is given in experience through acculturation and training. (shrink)

translation of a chapter from Peter Kivy's Music Alone "How Music Moves".

Powracając do estetyki kantowskiej autorka przygląda się wypowiedziom Kanta i stara się prześledzić możliwe pożytki płynące z wprowadzonego przez niego pojęcia „idei estetycznych”. Zasugerowane zostały także możliwe związki pomiędzy tą [źródłową] ideą a koncepcjami estetyki Rogera Scrutona raz Robina G. Collingwooda i odpowiednio ich pomysłami dotyczącymi doświadczenia wyobrażeniowego (Collingwood) oraz rozumienia i poznania za pomocą wyobraźni (Scruton).

Author discusses melancholy and music trying to find out what it means for a musical composition to be melancholic.

In this essay, the author considers intertextuality in contemporary musical work, conceptualizing it not only as a critical category and as an artistic convention, but also as an aesthetic strategy. Listening for texts, as it were, opens the work for influences and gives it new purposes. The multiple texts, which are mutually interdependent, alter each other’s meaning and are “read” and “re-read” during aesthetic experience. Depending on the listener, these meanings are more or less pronounced; some are seen as primary, (...) while others are seen as secondary. Sometimes they are co-dependent and meaningful together, but sometimes they shy each other out. The multilayered quality of the work is acknowledged and seen as important even before individual meanings can be discovered. The author proposes a look at intertextuality in reference to musical works by Steve Reich,. The author uses Ryszard Nycz’s definition of intertextuality and confronts it with Umberto Eco’s idea of interpretation and the structural openness of art. Putting forward a concept of listening-in as a necessary element of receiving and understanding certain musical works, she suggests accepting an intertextual aesthetic strategy for a satisfactory aesthetic experience. Assuming the presence of multiple texts, which are different in character and meaning, and accepting their interdependence, changes the reception of the work and colors its qualities. The challenge is not only to seek out different texts hidden behind the purely musical face of the work but to find out the way they influence each other, knowing full well that the major or minor role those texts play depend on the listener as much as on the author. (shrink)

Music as perception and creation is processual in nature. Its nature is development, succession, dialogical processes of reaching out and harmonizing. Not one process, in fact, but many. Among these processes that make music, author would like to focus on a very specific process of human self development which occurs during listening to music (in any music experience). The entanglement of different ways, in which musical processes appear in the world, author feels, suggest reaching out for Maurice Merleau-Ponty's concept of (...) chiasm and the phenomenological tradition. Finding a possibility of resolving seemingly chaotic image of music lies in proceeding gradually along the way of one of the processes while acknowledging at the same time the chiasmatic character of multiple experienced processes. In the course of the paper author stresses that the understanding of music as a process addresses both creative and receptive [aesthetic] experiences of music, and more specifically the process of [self] development, that can be found the both of these experiences. Process of changing through knowledge and growing through building an imaginary society; through reaching out to the other and explaining oneself in a process of self presentation but most importantly through listening-in to the world around. (shrink)

Author present Peter Kivy's understanding of music, its expressive powers and its unique status as a music alone. She explains the concept of being moved by music, which has been presented by Peter Kivy in his book Music Alone (Oxford University Press, 1990).

The practice of evaluating music and music works is widespread. That practice must depend on recognition of values and/or qualities in those works. However this be true it isn't always clear what these values and qualities are and how are the believes entrenched in theory and practice of evaluating musical works. In the aesthetics the most celebrated types of values are aesthetic values and qualities. Author of this paper reexamines the theory of aesthetic values as existing independently from artistic values (...) and artistic qualities. Starting from Monroe C. Beardsley, through Roman Ingarden's theory of value and coming to Nick Zangwill's understanding of evaluation of artworks, the author approaches the problem of judging musical works and the theory that is most needed to ground such practice. (shrink)

paper discusses the concepts of truth and appearance and the function they perform in the philosophy of Theodor Wisengrund Adorno.

translation of Arnold Berleant's "Engaging Dewey...".

We investigate computability theoretic and topological properties of spaces of orders on computable orderable groups. A left order on a group G is a linear order of the domain of G, which is left-invariant under the group operation. Right orders and bi-orders are defined similarly. In particular, we study groups for which the spaces of left orders are homeomorphic to the Cantor set, and their Turing degree spectra contain certain upper cones of degrees. Our approach unifies and extends Sikora’s [28] (...) investigation of orders on groups in topology and Solomon’s [31] investigation of these orders in computable algebra. Furthermore, we establish that a computable free group Fn of rank n>1 has a bi-order in every Turing degree. (shrink)

In previous research, studies on motivated correction in the evaluation of branded products are rare. This experimental study with 246 participants examined how the motivation to correct the impact of brand knowledge influences the product evaluation of actual strong and weak brands in low and high involvement situations. As predicted, asymmetry between the strong and weak brands was observed. After the induction of the motivation to correction, the smaller brand effect occurred only in the cases of low involvement and the (...) weak brand. The effect of motivated correction was smaller than the effect of high involvement; therefore, the overall results suggest that conscious explicit motivation to correction evokes correction only in cases of weak brands under certain circumstances. However, this impact is not as strong as the influence of high motivation or a strong brand, even though explicit instructions are given to avoid the negative influence of the brand. (shrink)

Drawing from an ethics of care, relational approaches to autonomy have recently emerged in bioethics. Unlike individual autonomy with its emphasis on patients’ rights, choice, and self-determination which has been the hallmark of bioethics consistent with the ideology of individualism in neoliberal democracies in Western countries, relational autonomy highlights the relatedness, interdependency, and social embeddedness of patients. By examining the mediating role that male Hospital Liaison Committee members in Germany play in facilitating care that supports Jehovah's Witnesses’ refusal of blood (...) transfusions, this article moves beyond ‘dyadic relations’ and contexts of caregiving. It also contributes to a deeper understanding of care and relational conceptualizations of Witness patients’ autonomy globally. (shrink)

The aim of the article is to present selected relationships between social trust and the development of a territorial unit. Social trust affects the level of cooperation in society and decides about the competitiveness of a territorial unit [12, p. 7]. The main thesis of the article is the author’s conviction that there is a significant correlation between social trust and the activity of citizens, the consequence of which is the development of territorial units. This relationship applies to different categories (...) of units, the article mainly focuses on municipal units. The conclusions presented are a consequence of the analysis of information sources and surveys carried out in three cities: Cracow, Helsinki and Valletta. The socio-economic situation of Poland, Finland and Malta is varied, also due to historical and political conditions. Social trust in these cities depends on different factors. Everywhere, however, significantly affects the direction of urban development, accelerating and stabilising it. Trust is a component of social capital, which translates into the ability to build an innovative and modern economy. In countries where citizens trust each other, a sense of security increases which significantly affects well-being. (shrink)

Recent literature reported that judgments of semantic coherence are influenced by a positive affective response due to increased fluency of processing. The presented paper investigates whether fluency of processing can be modified by affective responses to the coherent stimuli as well as an automaticity of processes involved in semantic coherence judgments. The studies employed the dyads of triads task in which participants are shown two word triads and asked to solve a semantically coherent one or indicate which of the two (...) is semantically coherent. Across two studies in a dualtask paradigm we show that a) attentional resources moderate insight into semantically coherent word triads, whereas b) judgments of semantic coherence judgments are independent of attentional resources. We discuss implications of our findings for how people might form intuitive judgments of semantic coherence. (shrink)

Addressing trauma as a phenomenon which happens on the level of the human psyche and body, this article explores the impact of the interlocking nature of human lingual and bodily being in discovering a fuller possibility of interpreting and understanding woundedness. The non-transparent and problematic character of trauma calls for a hermeneutic investigation in order to gain a far-reaching insight into what happens with us and in us in traumatic experience. The imperative to understand the situation of affliction is an (...) unending task which not only relies upon extant understandings but continually pro-vokes new ones. I argue that the process of healing, encompassing the spoken and bodily narrative, does not establish a secure equilibrium, but rather searches for self-restoring, healing energy and commences ever new understandings of what needs to be comprehended and healed. This article offers an examination of trauma as featured in three short stories by British authors: Rudyard Kipling, D. H. Lawrence and James Joyce, to exemplify the possibilities of literature to shed light on the intricate nature of traumatic experience. It interrogates the ways in which literature, hermeneutics and psychoanalysis meaningfully converge. (shrink)

This article investigates the rise of the feminine creative voice in the age of modernism through the lens of Virginia Woolf’s fictional and nonfictional writings. Her invaluable insights into the long history of women’s subjugation, as well as the fortunes of her contemporaries, provide a framework for an examination of how women established their position as capable members of society in the changing modern milieu. This essay examines Woolf’s novel To the Lighthouse, and her polemical essay A Room of One’s (...) Own, with a view to demonstrating modern women’s path to creating their artistic identity. Drawing on Paul Ricoeur’s notion of narrative identity, I investigate women’s unique way of (re)gaining their confidence and articulating their own voice during the process of self-formation. Following Woolf’s lead, I consider their double status: as both an object of fascination in works of literature and a source of oppression in real life. I also use Hans-Georg Gadamer’s philosophy of historically effected consciousness (Wirkungsgeschichtes Bewusstsein) to reveal the productive interpretative distance that can help us unravel the complexities of the historical and contingent nature of the development of the female artistic genius. An interrogation of women’s imaginative self-manifestations opens the way to the discovery of crucial truths that pertain to the hermeneutics of female creativity. (shrink)