PRELIMINAR Y STA TEMENT BY IA NNIS XENA KIS Subtended Philosophy* The worlds of classical, contemporary, pop, folk, traditional, avant-garde, etc., ...

Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output (...) of the past thirty-five years. This edition of Formalized Music is an essential tool for understanding the man and the thought processes of one of this century's most important and revolutionary musical figures. (shrink)

Iannis Xenakis (1922–2001), composer, architect, engineer and media artist, designed together with Le Corbusier the Philips-pavilion for the 1958 Brussels World Fair. This pavilion is an early example of (“hybrid”) combined media and architectural space as it contained a Poème Électronique, an electronic synthesis of visual projections (conceived by Le Corbusier ) and acoustic events (composed by Varèse). The pavilion's architecture with its hyperbolic-paraboloid shells had a dynamic expression. Xenakis continued this research into complex material architectural forms. (...) He also worked on the complex ephemeral architectures of light and sound events. What is specific to Xenakis is the way he used forms in different fields and transferred them from one field to another, from engineering to music, from music to architecture and visual events. This experience of working simultaneously and applying the same (mental) structures in different fields opened him the way (partly supported by the universal computer instrument) for the practice of transferring mathematical-scientific structures into artistic production. In this context Xenakis pleads for the development of a “General Morphology”, a research concerned with the understanding of form and its generation. Xenakis's ‘material’ architectural work is to be seen in continuity with his architectures of music and light. (shrink)

Understanding compositional practices is a major goal of musicology and music theory. Compositional practices have been traditionally viewed as disembodied and idiosyncratic. This view makes it hard to integrate musical creativity into our understanding of the general cognitive processes underlying meaning construction. To overcome this unnecessary isolation of musical composition from cognitive science, in this conceptual analysis, we approach compositional processes with the analytic tools of blending theory, material anchoring, and enaction. Our case study is Iannis Xenakis’ use (...) of sieves for distributing rhythmic patterns in Psappha. Though disregarded in previous accounts, the timeline and the gearwheel provide crucial conceptual templates for anchoring Xenakis’ idea of time for this score. This case study of conceptual integration templates for temporal representation seeks to gain insight into musical creativity, embodiment, and blending, especially into how virtual interactions with material structures facilitate the construction of complex meanings. (shrink)

Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...) which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

ABSTRACT This article surveys recent work on oracular prophecies and their role in Greek perceptions of Russia in the early modern period. Drawing on this survey, the article provides a critical assessment of the historiographical paradigm of the ‘Russian Expectation’ offered by Paschalis Kitromilides for the analysis of Greek-Russian relations. Finally, the article proposes that scholars should focus on the concept of protection as an aspect of political language, this providing an explanation for particular Greek and also Russian interpretations of (...) the Treaty of Kuçuk-Kaynardja of 1774. (shrink)

Este artigo tem como intenção investigar as maneiras segundo as quais as inter- relações didático-pedagógicas nas "comunidades de investigação filosófica", possam ser lidas a partir de uma ótica que enfatize os processos de (auto)construção subjetiva constantemente realizados por seus/suas participantes. Utilizando a noção de ―relação de vontade a vontade‖ articulada por Jacques Rancière, procurarei desenvolver algumas possíveis interpretações das interações entre pensamento e afetos, em especial, sua condição latente de ocupar posição privilegiada nas dinâmicas de auto-percepção e hetero-reconhecimento intelectuais. A (...) intenção é tentar mostrar como as dinâmicas são realizadas verbal e/ou corporalmente, segundo enunciações avaliativas da participação e contribuição em classe, feitas tanto por colegas como por mediadores/as. (shrink)

Antonio Ianni Segatto Dans cet article, je veux montrer quel est le malentendu commun aux lectures opposées des remarques wittgensteiniennes sur « suivre une règle », notamment la lecture sceptique de Kripke et la lecture de Baker et Hacker. Je crois que caractériser correctement le malentendu de ces dernières nous permet de voir la bonne façon de lire ces remarques, dans la mesure où ces lectures sont toujours soumises à une confusion philosophique que Wittgenstein veut dissoudre. Ensuite, je présente un (...) commentaire des §§239-242 des Recherches philosophiques inspiré de la lecture dite résolue, en attirant l’attention sur un des aspects souvent négligés par les commentateurs, en particulier la dimension temporelle du langage. L’examen de la relation entre celle-ci et l’activité de suivre des règles entend présenter de nouveaux arguments en faveur d’une lecture résolue. (shrink)

Pretende-se é elucidar alguns aspectos da teoria pragmática da linguagem de Habermas tal como apresentada no primeiro capítulo de Facticidade e validade relacionando as teses apresentadas nessa parte do livro a teses apresentadas sobretudo na segunda parte de Pensamento pós-metafísico a fim de elucidar com como a teoria discursiva do direito e da democracia apresentada em 1992 tem seu ponto de apoio em uma concepção específica da linguagem. Essa estratégia permite examinar os pressupostos normalmente deixados à sombra nas discussões da (...) teoria do direito e da democracia de Habermas, assim como permite responder a algumas objeções dirigidas a essa teoria. (shrink)

Even though aesthetics and affordances are two important factors based on which designers provide effective ways of interaction through their artifacts, there is no study or theoretical model that relates these two aspects of design. We suggest a theoretical explanation that relates the underlying functionality of aesthetics, in particular, of interaction aesthetics and of affordances in the design process. Our claim is that interaction aesthetics are one among other factors that allow users to enhance the detection of action possibilities and (...) consequently, the detection of affordances. Our aim is first to discuss the role of interaction aesthetics in the design process, and second to suggest an explanation for their role in the detection of affordances when users interact with artifacts. (shrink)

Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation – mostly based on an interactivist model of emergent representation and appraisal theory of emotions – concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of (...) heuristic learning; and Aesthetic Appraisal Subsystem (AAS) which primarily affects the elicitation of aesthetic emotional meanings. These two subsystems (CVS and AAS) are organizationally connected and affect the action readiness of the autonomous agent. More specifically, we consider the emotional outcome of these two subsystems as a functional indication that strengthens or weakens the anticipation for the resolution of the dynamic uncertainty that emerges in the particular interaction. (shrink)

The main object of this project is how it can become possible to sense an invisible element such as the air. An installation will be created that will aim to provide a sensorial way of dealing with the air and the wind – that is air in motion – with the help of a computer-assisted environment. The objective is to engage the spectator in the navigation of semantic and sensual space that has its own quasi-mythical structure. The attention is focused (...) on the cognition dimension of the human body and senses and the enlargement of perception through the application of new technologies. The wind is a highly abstract phenomenon, with many physical and metaphysical aspects and is one of the basic elements of the physical universe. At the same time, the wind has an enormous impact on our lives, which we perceive, visually and acoustically only through its effects. That is why it has provided material for mythology and art throughout the centuries. In this project, the intention is to create a place where the visitor will be immersed into the landscapes of the winds of the world in order to increase his awareness and knowledge about them by merging technology, myth and body. The research is going to deal with both physical and metaphysical/mythological dimensions of the phenomenon. This starts with an investigation of references to winds and wind phenomena in mythologies world-wide, and extends over the scientific or causal explanations of the wind, as well as the investigation of its auditory and visual manifestations. Data from the Internet will be converted to audio and visual forms in a physical space, in real time. The online data that will be fed into the system are the intensity and direction of the winds at specific default locations on the planet. The visitor’s movements and his/her path in this given area will affect these audio-visual forms. The deliverables of the project (still in its definition phase) are:A study including the research methodology and the outcomes from the researchAn audio-visual interactive installation based on web data. (shrink)

Nowadays, aesthetics are generally considered as a crucial aspect that affects the way we confront things, events, and states of affairs. However, the functional role of aesthetics in the interaction between agent and environment has not been addressed effectively. Our objective here is to provide an explanation concerning the role of aesthetics, and especially, of the aesthetic experience as a fundamental bodily and emotional activity in the respective interactions. An explanation of the functional role of the aesthetic experience could offer (...) new orientations to our understanding of embodied cognition and of aesthetics as a fundamental part of it. We argue that aesthetic experience, especially its emotional dimension, is an evaluative process that influences the anticipation for stable and successful interactions with the environment. In other words, aesthetics facilitates sense-making as they affect what might be anticipated by an action tendency with respect to an environment. (shrink)

Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic organization with the proposed (...) model. Our aim is to provide a further theoretical understanding with respect to the perception of aesthetics and to enrich our models regarding the functionality of aesthetic interpretation, using the theoretical interpretive richness provided by the semiotic perspective. (shrink)

American anthropology is distinguished by a four-fields approach in which biological, cultural, archaeological, and linguistic dimensions of behavior are examined in evolutionary and cross-cultural perspective. Nevertheless, assumptions of mind-body dualism pervade scholarly thinking in anthropology and have prevented the development of a truly integrated science of human experience. This dualism is most exemplified by the lack of consideration of the role of the brain in both “physical” and “mental” processes, including phenomena labeled as cultural. In this paper, I review neural (...) mechanisms of learning, communication, and emotion, and discuss the implications of these findings for culture theory. (shrink)

We explain that most of the explanations that traditionally have been used to conceptually and ontologically differentiate aesthetic experience from any other are not compatible with a naturalistic framework, since they are based on transcendental idealistic metaphysics, reductions, and on the assumption that the aesthetic is an a priori special ontology in the object and the mind. However, contemporary works that propose as an alternative to apply directly evidence and theory from the science of emotions to the problem of aesthetics (...) introduce Aesthetic Science into a new set of problematic assumptions. We argue that conceptually equating or ontologically reducing the aesthetic to the theory of rewards cannot provide a clear alternative for any Aesthetic Science to naturalize the aesthetic experience as a heterogeneous class of events that are not already explained by affective science. This practice introduces a serious danger of making the term “aesthetic” and the respective scientific field pretty weak or completely redundant and unnecessary. (shrink)

Hippiedom is the latest Cynic apparition. Both make fun of the rat race, money?making, accumulation, consumerism, uptightness, egodependence, Puritanism, racism, nationalism, sexism. Their rebellions transcend particular times and places and share a common target. Even the expressions of rebellion are largely the same, from long hair to panhandling to sexualizing in public. Of course there are differences. Thus the Cynics were not social dropouts, although remember hippie offshoots like the yippies. Nor did they go for artificially?induced highs and self?confidence, though (...) to them guts and freedom (as liberation, not primarily as option or responsibility) were the wildest things, man. (shrink)