Harmony is a generally agreed-upon idea in international and diplomatic discourse. A common theme in multiple traditions of thought, Platonist and Confucian among others, it underlies today’s significant investments in musical activism, cultural diplomacy, conflict resolution and peace building. Yet despite this wide currency and long history, the idea of harmony seldom receives more than liminal attention in political theory. In the context of Western thought, an essay written in the 1830s by the French philosopher Jean Reynaud offers a striking (...) point of departure: Reynaud defines diplomacy as ‘the science of harmony among states’. This article, drawing from Reynaud’s text as well from the wider history of music, art and political thought, maps a series of conceptual fault lines that touch on the concept’s function in international thought; the inscription of difference, dissonance, conflict and even war within the idea of harmony; the hegemonic and imperial temptations harmony encompasses and legitimizes; and the theoretical sources of harmony in nature and artifice. In effect, the concept of harmony offers less a blueprint than a forum for imagining peace. (shrink)

Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...) infused into our natural and artificial environment. Section three lists several ways of how we experience atmosphere, preparing the ground for the specifically aesthetic claim in section four: how, when we experience atmosphere aesthetically, we respond to it by resonating or feeling at home. (shrink)

Thought style and thought collective are two well-known concepts from Ludwik Fleck’s theory of science, which he originally formulated in Polish and German. This paper contends that these two concepts cannot be fully understood without a third—Stimmung/nastrój, which is one of the musical metaphors that play an important role in Fleck’s thinking. Because it is most often translated into English as “mood”, Fleck’s musical metaphors are mostly lost in translation, appearing as mere rhetoric. Only if and when we understand Stimmung/nastrój (...) in the musical meaning of attunement, we can fully understand thought collectives, for which Stimmung/nastrój is sine qua non, and thought style, which appears if and when a collective turns out to be an enduring and not a momentary one. (shrink)

The paper analyzes the ontological meaning of mood in Heidegger’s conception of Attunement, in order to relate this notion of Stimmung specifically to our “attunement” to a form of life, as conceived in Wittgenstein’s philosophy of language. It claims that moods spell out the constitutive impossibility to grasp and found the human experience as such. However, this impossibility is not a lack of human knowledge, but rather corresponds to the necessary opacity, indeterminability and groundlessness of every human experience, which make (...) it possible as such. The paper argues that the ontological mood of anxiety in Heidegger’s thought cannot be understood as a dark feeling, since it points to a constitutive sense of disorientation, which involves the impossibility to found and ensure the very familiarity of our ordinary experience. Moreover, the paper claims that the same impossibility is also involved in our “attunement” to language and to a form of life, as described by Wittgenstein in his Philosophical Investigations. By analyzing the mood of trust sketched out by Wittgenstein in On Certainty, the paper suggests that the ontological mood of trust, as the groundless certainty of our praxis, points to the very impossibility to found and ensure every human experience. From this perspective, moods reveal the groundlessness of human experience and make us acknowledge it. (shrink)