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  1. Why Art is Never Representation - Even When It Represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  2. Modifications to Aristotle's Poetics.E. Garrett Ennis - manuscript
    Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...)
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  3. deleted.Enrique Morata - manuscript
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  4. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to us as (...)
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  5. On Music, Sense, Affect and Voice by Carol Harrison , Iii + 172 Pp.Jeremy Begbie - forthcoming - Modern Theology.
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  6. Righteous Radicals on Heavy Rotation. A Cross-Case Study of the Bobo Shanti Rasta Mansion and its Representation in Jamaican Dancehall/Reggae in Regard to Five Percenter Ideology in US-Hip Hop.Martin A. M. Gansinger - forthcoming
    While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based (...)
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  7. Husserl’s Time Consciousness in Regard to Extemporaneous Communication Practices in Performing Arts and Traditional Knowledge Systems.Martin A. M. Gansinger - forthcoming - Immediate. Currents in Communication, Culture and Philosophy.
    This study is aiming at analyzing extemporaneous methods of instructional speech in the context of the Naqshbandi Sufi Order and its parallels with improvised music as well as potential for modern educational purposes. Focusing on a processual analysis covering the flow of events in the communication and its environment, the work is using approaches applied in performance studies as well as improvised music, as well as cognitive science and psychological perspectives concerned with the mechanisms of the subconsciousness. Field research data (...)
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  8. Music Pluralism, Music Realism, and Music Archaeology.Anton Killin - forthcoming - Topoi:1-12.
    According to pluralism about some concept, there are multiple non-equivalent, legitimate concepts pertaining to the ontological category in question. It is an open question whether conceptual pluralism implies anti-realism about that category. In this article, I argue that at least for the case of music, it does not. To undermine the application of an influential move from pluralism to anti-realism, then, I provide an argument in support of indifference realism about music, by appeal to music archaeological research, via an analogy (...)
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  9. Popular Viennese Electronic Music, 1990-2015: A Cultural History.Ewa Hanna Mazierska - forthcoming - Routledge.
    Mazierska presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music (...)
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  10. Music and Multimodal Mental Imagery.Bence Nanay - forthcoming - In Music and Mental Imagery. London: Routledge.
    Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...)
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  11. Social Articulation in US-HipHop. Communication Structure of a Social Minority.Martin A. M. Gansinger - 2020
    Taking the metaphor of Black CNN as a starting point, the project attempts to analyze the potential of the musical form of expression of hip hop as a communication structure of the black minority in the USA. After a historical-cultural explanation, which deals with the tradition of reflecting social and political aspects in the different musical expressions of the Black ethnic group in the USA, and which already shows the importance of this form of expression in the context of an (...)
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  12. Sufferers in Babylon: A Rastafarian Perspective on Class and Race in Reggae.Martin A. M. Gansinger - 2020 - In Ian Peddie (ed.), The Bloomsbury Handbook of Popular Music and Social Class. New York: Bloomsbury Academic. pp. 443-464.
    The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the music. (...)
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  13. The Joyful Relativity of Kondoms and Kaskets.Casey Rentmeester - 2020 - In Courtland Lewis (ed.), KISS and Philosophy: Wiser than Hell. Chicago, IL, USA: pp. 159-169.
    Having sold more than 100 million records worldwide, KISS has come to be one of the best selling bands of all-time. From their over-the-top stage personas and theatrics to their eclectic merchandising endeavors that span from condoms to caskets, KISS has lived up to their famous tagline as “the hottest band in the world.” This chapter analyzes the band—and the brand—that is KISS through the lenses of the philosophies of Friedrich Nietzsche and Mikhail Bakhtin. KISS’s music can be properly understood (...)
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  14. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  15. Феномен взаємопроникнення (задіяння) української та вірменської культур на теренах України.Kateryna Dannyk - 2019 - Наукові Записки НАУКМА: Andquot;ІСТОРІЯ І ТЕОРІЯ КУЛЬТУРИ" 2 (5):35-40.
    У статті розглянуто актуальне явище сучасної культури – взаємопроникнення кількох різних культур (в історико-типологічному сенсі) в Україні. Увагу акцентовано на вірменській меншині як культуротворчій діаспорі України. Досліджено роль вірменських музикантів у поліетнічній культурі України та їх самоідентифікацію у творчості. Увагу сконцентровано на проявах задіяння зразків класичного різножанрового мистецтва в сучасних творах та взаємодії українського й вірменського мистецтва в цьому ракурсі. Проаналізовано творчість вірменських музикантів, які спочатку як імпровізацію, а згодом і в більшості своїх проектів використовують прийом міксування етнічних елементів українського (...)
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  16. The Influence of the Bobo Shanti Mansion of Rastafari on Reggae Artistes.Martin A. M. Gansinger - 2019 - Caribbean Quarterly 65 (3):421-435.
    This paper discusses the influence and transformation of the Bobo Shanti Rasta Mansion in Jamaican popular music. While affiliates of the strict denomination of the Rastafarian faith got labeled as militant radicals by more moderate Rasta branches and mainstream artists alike in the 1990s, a new generation of artistes has carefully deconstructed the Bobo identity, using portions to underline cultural authenticity. The transformative nature of this process is demonstrated in the form of a descriptive historical discussion and representative samples of (...)
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  17. Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  18. The Musical Subject: Intuition, Historicity and Music in Hegel.Adriano Kurle - 2019 - Hegel Jahrbuch 2019 (1):436-443.
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  19. The Historicity of Music in Hegel in Face of Schoenberg’s Twelve-Tone Music.Adriano Bueno Kurle - 2019 - Veritas – Revista de Filosofia da Pucrs 64 (2):33169.
    In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (...)
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  20. Співочі книги у василіянських монастирях Руської провінції другої половини XVIII — початку ХІХ ст. (цивілізаційнi зміни в церковно-музичнiй сфері).Valentyna Los - 2019 - Kyivan Academy 16 (5):160-175.
    Статтю присвячено аналізові церковно-музичних книг василіянських монастирів Руської провінції другої половини XVIII — початку ХІХ ст. На підставі монастирських інвентарів висвітлюється діяльність друкарні Почаївського василіянського монастиря, яка, серед іншого, спеціалізувалася на виданні музичних книг, зокрема Ірмолоїв— поліжанрових збірників, що властиві українському типові церковно-співочої книги. У статті наголошено також на ролі Василіянського Чину в поширенні західно-християнських культурних впливів упродовж другої половини XVIII cт.
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  21. Considerações Sobre a Forma Musical na Poética Composicional Contemporânea.Jorge Luiz de Lima Santos - 2019 - Dissertation, University of Campinas, Brazil
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  22. Lecciones de Música Pop.Enrique Morata Senar - 2019 - SCRIBD.
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  23. Music Policies İn Turkish Single-Party Era: Religious Music Example.Uğur Alkan - 2018 - Tasavvur - Tekirdag Theology Journal 4 (2):452 - 469.
    Upon abolition of the sultanate, proclamation of the Republic, and termination of the seemingly existing caliphate position, the 1921 Constitution was replaced with the 1924 Constitution, which would remain in full force until 1961. It is observed that as a result of all such consecutive developments, the no. 677 Law on Preclusion and Abolition of Lodges, Zawiyahs, Tomb Keepers and Some Titles, which had been presented to the assembly with a bill prepared by Refik Koraltan, a member of the parliament (...)
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  24. Birds of a Feather Flock Together: The Nigerian Cyber Fraudsters (Yahoo Boys) and Hip Hop Artists.Dr Suleman Lazarus - 2018 - Criminology, Criminal Justice, Law and Society 19 (2):63-80.
    This study sets out to examine the ways Nigerian cyber-fraudsters (Yahoo-Boys) are represented in hip-hop music. The empirical basis of this article is lyrics from 18 hip-hop artists, which were subjected to a directed approach to qualitative content analysis and coded based on the moral disengagement mechanisms proposed by Bandura (1999). While results revealed that the ethics of Yahoo-Boys, as expressed by musicians, embody a range of moral disengagement mechanisms, they also shed light on the motives for the Nigerian cybercriminals' (...)
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  25. Metrik und Musik.Immanuel Musäus - 2018 - In Magnus Frisch (ed.), Metrik im altsprachlichen Unterricht (Ars Didactica; vol. 4). Speyer: Kartoffeldruck-Verlag Kai Brodersen. pp. 311-346.
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  26. La disparition de la politique : le rap entre Israël et la Palestine, entre Juifs et Arabes.Anna C. Zielinska - 2018 - Mouvements 96 (2018/4):102-110.
    Politics, and in particular the question of the Palestinian-Israeli conflict, is currently dealt with rather through fiction and art, and much less through genuine political actions, is a strong sign of the failure of politics as a positive, voluntaristic political project. Rap /hip hop music, the most naturally political art, does not have the political agenda anymore. The particular history or Israeli rap illustrates this process in a striking way, embodying the recent evolution of the Israeli society. The country was (...)
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  27. Interdisziplinäre Aspekte zur Improvisation als kommunikatives Beziehungsgeschehen.Martin A. M. Gansinger - 2017 - Immediate. Currents in Communication, Culture and Philosophy 1 (2).
    Im Rahmen der folgenden Seiten sollen die Kommunikationsbedingungen im Kontext der Kollektiv-Improvisation genauer analysiert und einem Vergleich mit den Voraussetzungen der idealen Sprechsituation von Habermas unterzogen werden. Hinleitend dazu erfolgt zum Einstieg eine Darstellung jener Ausgangsbedingungen, welche die Methode der kollektiven Improvisation von herkömmlichen musikalischen Verfahren unterscheidet. Zu diesem Zweck werden neben einer kurzen Erläuterung der bereits im vorangegangenen Kapitel ausführlich diskutierten Ausgangsbedingungen u.a. Ansätze aus der Musiktherapie herangezogen, die sowohl soziale als auch politische Faktoren mit einbeziehen. Im Anschluss daran (...)
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  28. Aspekte von interkultureller Kommunikation in der Musik.Martin A. M. Gansinger - 2017 - Immediate. Currents in Communication, Culture and Philosophy 1 (2).
    Im institutionalisierten Bereich interkultureller Beziehungen kommt es permanent zu Bemühungen, über gemeinsame musikalische Projekte Brücken zum Austausch von Lebensrealitäten und Erfahrungen zu erzielen. In vielen Fällen besteht jedoch nicht die Gelegenheit des gegenseitigen Austausches, weil die beteiligten Akteure entweder nebeneinander agieren, ohne aufeinander einzugehen und die Impulse ihres Gegenübers in den eigenen Beiträgen zu reflektieren, oder aber eine der beiden Bestandteile den anderen dominiert, und keine entsprechende Gelegenheit zur gleichberechtigten Artikulation einräumt. Der Grund dafür liegt häufig in der Starrheit der (...)
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  29. Radical Religious Thought in Black Popular Music. Five Percenters and Bobo Shanti in Rap and Reggae.Martin Abdel Matin Gansinger - 2017 - Hamburg, Germany: Anchor.
    This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated (...)
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  30. Wittgenstein, Modern Music, and the Myth of Progress.Eran Guter - 2017 - In Ilkka Niiniluoto & Thomas Wallgren (eds.), On the Human Condition – Essays in Honour of Georg Henrik von Wright’s Centennial Anniversary, Acta Philosophica Fennica vol. 93. Helsinki: Societas Philosophica Fennica. pp. 181-199.
    Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...)
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  31. The Intersubjective Community of Feelings: Hegel on Music.Adriano Kurle - 2017 - Hegel y El Proyecto de Una Enciclopedia Filosófica: Comunicaciones Del II Congreso Germano-Latinoamericano Sobre la Filosofía de Hegel.
    The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...)
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  32. Machine Intelligence, New Interfaces, and the Art of the Soluble.Michael J. Lyons - 2017 - Arxiv.
    Position: (1) Partial solutions to machine intelligence can lead to systems which may be useful creating interesting and expressive musical works. (2) An appropriate general goal for this field is augmenting human expression. (3) The study of the aesthetics of human augmentation in musical performance is in its infancy. -/- CHI 2015 Workshop on Collaborating with Intelligent Machines: Interfaces for Creative Sound, April 18, 2015, Seoul, Republic of Korea.
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  33. A Música na Obra de Pitágoras de Samos e os Pitagóricos. Breves Fragmentos.Juliano Ozga (ed.) - 2017 - Saarbrücken, Deutschland: NEA Novas Edições Acadêmicas.
    O tema desse livro, conforme o título é a música (do grego μουσική τέχνη – musiké téchne, i.e., “a arte das musas”) na obra de Pitágoras, primeiro pensador na história da filosofia a fazer dessa arte o centro de sua visão de mundo, através de sua inclusão até mesmo nas assim chamadas “ciências exatas”. Para que haja maior compreensão e clareza a respeito do pensamento de Pitágoras, cujos escritos chegaram até o século XXI extremamente fragmentados e em número muito reduzido, (...)
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  34. Irreducible Listening: Sound Unseen and Unspoken (Review of Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane, and The Order of Sounds: A Sonorous Archipelago, by François J. Bonnet). [REVIEW]Iain Campbell - 2016 - Sound Studies 2 (2):194-198.
  35. Musikalische Schlußbildung als philosophische Herausforderung Bach, Beethoven, Schönberg.Claudia Sophia Fuß - 2016
    Musikalische Schlußbildung gehört zu den zentralsten Themen in der Musikwissenschaft und führt in tiefere philosophische Bereiche, denn das Schließen und Enden ist an einem langen Ende für den Menschen auch mit dem schwierigen Rätsel des Todes verbunden. Ist dieses nicht gelöst, bleibt auch musikalisches Enden und Schließen eine ungeknackte Nuß. Bach, Beethoven und Schönberg haben, aufeinander aufbauend, drei Lösungskonzepte entwickelt.
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  36. Nigerian Music and the Black Diaspora in the USA : African Identity, Black Power, and the Free Jazz of the 1960s.Martin A. M. Gansinger & Ayman Kole - 2016 - In Martin A. M. Gansinger & Ayman Kole (eds.), From Tribal to Digital - Effects of Tradition and Modernity on Nigerian Media and Culture. Scholars Press. pp. 15-44.
    This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its (...)
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  37. Rethinking Music's Status as Adaptation Versus Technology: A Niche Construction Perspective.Anton Killin - 2016 - Ethnomusicology Forum 25 (2):210-233.
    In this article I critique F. R. S. Lawson's evolutionary theorising about music that appeared in a recent issue of Ethnomusicology Forum. Moreover, I argue that asking whether music is an adaptation or technology, as Lawson does, artificially splits the interwoven, dynamic co-evolutionary forces at work. In my view, in cases of complex, dynamic co-evolution, the distinction between the ‘biological’ and the ‘cultural’ is undermined. I suggest that human musicality is one such example, calling into question the adaptation/technology distinction that (...)
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  38. Musicality and the Evolution of Mind, Mimesis, and Entrainment: Gary Tomlinson: A Million Years of Music: The Emergence of Human Modernity. Zone, New York, 2015.Anton Killin - 2016 - Biology and Philosophy 31 (3):421-434.
    In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for further (...)
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  39. La democracia musical.Enrique Morata (ed.) - 2016 - Madrid, Spain: Eride.
    La situación de la música en España, la canción comerical, contra la guitarra eléctrica, los hijos de Wagner, Lord Blackmore, el post-rock..Publicado en 2016 por Ed. Eride.
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  40. HIP HOP – Sujeito e(m) movimento.Raphael de Morais Trajano - 2016 - Dissertation, Universidade Federal Fluminense, Brasil
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  41. Music Practice and Participation for Psychological Well-Being: A Review of How Music Influences Positive Emotion, Engagement, Relationships, Meaning, and Accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...)
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  42. The Good, the Bad, and the Vacuous: Wittgenstein on Modern and Future Musics.Eran Guter - 2015 - Journal of Aesthetics and Art Criticism 73 (4):425-439.
    This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...)
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  43. Tecnicas para escribir canciones.Enrique Morata (ed.) - 2015 - Bubok.
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  44. ARTEFATOS E MODELOS DA MÚSICA NA ANTIGUIDADE OCIDENTAL.Cynthia Sampaio De Gusmão - 2015 - Dissertation, University of São Paulo, Brazil
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  45. Desire and Pleasure in Seventeenth-Century Music.Gerald Seaman - 2015 - The European Legacy 20 (8):863-864.
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  46. 2. Wildgen, Wolfgang, 2015a. Dynamique narrative du texte, du film et de la musique.Wolfgang Wildgen - 2015 - , In: Cahiers de Narratologie. Analyses Et Théories Narratives, 28 (Numéro: Le Récit Comme Acte Cognitif). Link : Http://Narratologie.Revues.Org/7243 28.
    Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...)
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  47. La estética y el arte de regreso a la Academia.Bertha Laura Álvarez Sánchez & José Ramón Fabelo Corzo (eds.) - 2014 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...)
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  48. Ten Hip-Hop Tracks That Demand Freedom for Palestine.Carrie Giunta - 2014 - The Electronic Intifada.
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  49. Neoliberal Noise: Attali, Foucault, & the Biopolitics of Uncool.Robin James - 2014 - Culture, Theory, and Critique 52 (2):138-158.
    Is it even possible to resist or oppose neoliberalism? I consider two responses that translate musical practices into counter-hegemonic political strategies: Jacques Attali’s theory of “composition” and the biopolitics of “uncool.” Reading Jacques Attali’s Noise through Foucault’s late work, I argue that Attali’s concept of “repetition” is best understood as a theory of neoliberal biopolitics, and his theory composition is actually a model of deregulated subjectivity. Composition is thus not an alternative to neoliberalism but its quintessence. An aesthetics and ethos (...)
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  50. Musicality in Human Evolution, Archaeology and Ethnography: Iain Morley: The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality. Oxford University Press, Oxford, 2013.Anton Killin - 2014 - Biology and Philosophy 29 (4):597-609.
    This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...)
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