Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods. The Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific ritual practices, the literary and visual evidence associated with the cults make repeated reference to music performed on the panpipes—and to auditory and sensory stimuli more generally—as a prominent feature of (...) the worship of these gods. I consider the Vari Cave, sacred to Pan and the Nymphs, together with the surviving marble votive reliefs from that space, to explore the sounds and sensations associated with the veneration of the rural gods. I argue that the sensory experience offered by the cave and the images within it would have enhanced the worshiper's experience of the ritual and the gods for whom they were performed. In this way, visual and auditory perceptions blurred together to create a powerful experience of the divine. (shrink)

This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages (...) in the Iliad and Odyssey, the paper argues against chronological notions of linear time and progression and in favor of a complex, dynamic temporal “geometries” of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality—irreducibly complex—affects the cognition and perception of time throughout the whole of antiquity. (shrink)

In my general aim to probe a non-reductionist Philosophy of Cognitive Enhancement, considering social self-other relations and the epistemic 2PP in social syn-aesthetic tuning-ins, synchronisations and tuning-outs, this paper amplifies the Aristotelian common sense concept κοινὴ αἲσθησις2 by analysing the concept and metaphor of “resonance”3 in contemporary debates on >resonance< as acoustic and multimodal figure of thought. Resonance as shown in scientific models derived from acoustics will be applied to an aesthetic comunity of sensing and making music together as explored (...) in Alfred Schütz, as well as in social relations in social psychology. Finally, this paper puts resonance to test as well in technical atunements of social relations and closes with the necessary resistance to imposition of social resonance, introduced in this paper as xenoresonance. (shrink)