This introduction to the aesthetics and sociology of music of the German philosopher and music theorist T. W. Adorno is the only book to deal comprehensively with this topic and it has quickly established itself as a classic text.

By the author of Adorno's Aesthetics of Music. This book consists of four sections: critical theory and music; Adorno's aesthetics of modernism; Adorno, popular music and mass culture; and critical reflections on Adorno.

Adornos Kritik der populären Musik gilt als der Teil seiner ansonsten so beeindruckenden Analyse des Dilemmas der westlichen Musik im 20. Jahrhundert, der am wenigsten überzeugt. Warum seine Sicht der populären Musik nur schwer zu akzeptieren ist, scheint auf der Hand zu liegen; und es lässt sich nicht leugnen, dass die gängige Kritik, Adorno sei auf diesem Gebiet voreingenommen, arrogant und uninformiert gewesen, mehr als nur ein Fünkchen Wahrheit enthält. Ich habe jedoch nicht die Absicht, den üblichen Beschimpfungen weitere hinzuzufügen (...) oder Adornos Grundthese zum Dilemma der Kultur des 20. Jahrhunderts als Ganze anzugreifen. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens (...) up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. The book offers a wide range of international perspectives from prominent musicologists, philosophers and composers.Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, (...) pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music. Part III offers creative perspectives, with new essays and interviews from important contemporary composers. A concluding essay by Alastair Williams provides a postlude to the book, while the whole collection is prefaced by an extended introductory chapter by Max Paddison which provides a context of ideas, and traces many of the issues discussed back to Adorno's seminal notion of une musique informelle. (shrink)

L. A. Paul and Ned Hall’s book makes an original and important contribution to the philosophical debate on causation. Their aim is not to construct a theory of causation but “to sketch a map” of the “landscape” (1) constituted by a rich set of problem cases and various theories of causation devised to account for them.Chapter 1 presents the scope and aim of the book, justifies the method of evaluating theories of causation by exploring whether they are refuted by counterexamples, (...) and provides an overview of the rest of the book.Chapter 2 justifies the choice of problems and solutions considered in the book. Several assumptions are made from the beginning. Causation is taken to be a relation among particular events rather than types of events. A “reductionist outlook” is adopted, according to which facts about what causes what are determined by (1) facts about what happens and (2) fundamental laws. These assumptions provide the background for a “minimal sufficiency account” of causation .. (shrink)

Vodola, Max On a wet Melbourne evening on Saturday 16 September 1916, Archbishop Daniel Mannix, coadjutor to Dr Thomas Carr, attended the opening of the parish bazaar at St John's Parish, Clifton Hill. Mannix was on his way to another function when he made the unscheduled stop at Albert Hall on Queen's Parade.2 After opening the bazaar, Mannix spoke for a few minutes about an issue of great significance, the proposal by the Hughes Government for compulsory military service. Mannix spoke (...) about achieving an honourable peace without conscription, describing conscription as 'a hateful thing' and opining that 'the present war would not have achieved such disastrous proportions if conscription had not prevailed in Europe'. Mannix insisted that Australia had done her fair share and that conscription in Australia would cause more evil than it would avert.3 In speaking on conscription, Daniel had entered the lion's den. Mannix later reflected that the speech at Clifton Hill was his 'original sin'. (shrink)

Every person in the course of his or her life has some contact with the medical profession. And in recent years that profession has been revolutionised in the fields of research, of technology and of practice. Hardly has one advance been declared than it is superseded by another. At the same time, while community attitudes themselves change, group practices have taken some weight from doctors but perhaps have diminished the doctor/ patient relationship of previous years. Another change in the oversight (...) of the medical profession has been the growth of what is called medical ethics. What, for example, is the amount of information a doctor should give a patient prior to performing an experimental procedure? Amongst all these changes there are still fundamental issues where doctors have to use their personal judgment as to what to do or what to say. For Max Griffiths this is where ethical considerations become matters of medical morality. He outlines a broad range of situations which frequently confront both doctor and patient, requiring sympathetic understanding on each side. Some of these arise out of the radical changes which have occurred in community attitudes and practices. Abortion and euthanasia are two important examples. Others range from growing pains and teenage trauma to ageing and dealing with dying and with loss. From his extensive associations with patients in a wide variety of situations the author tackles those issues which demonstrate what makes a good doctor. The result is a book that is for doctors and patients alike. Max Griffiths' involvement in medical matters range from responsibility for outback hospitals in places like Birdsville, Oodnadatta, Halls Creek and Fitzroy Crossing to long term membership of the board of the Austin Hospital in Melbourne. In this latter capacity he chaired committees responsible for the oversight of medical research, especially the protection of patients' rights. He was also involved in similar committees at the Royal Children's Hospital in Melbourne and the Royal Darwin Hospital. As a long term minister of religion his visits to his parishioners both at home and in hospitals gave him a deep insight into their anxieties. He was also a foundation member of Ronald McDonald House and chairman of several institutions engaged in the care of children with disabilities. [Subject: Sociology, Health Care, Medical Ethics]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Winnicott’s “Fear of Breakdown” : On and Beyond TraumaMax Hernandez (bio)y no hallé cosa en que posar los ojos / que no fuese recuerdo de la muerte[I could find no thing on which to rest my eyes / which was not a reminder of death]—Francisco de Quevedo, “Sonetos”The ubiquitous occurrence of violent events and the growing realization that the inscription of this violence in the psyches of those exposed (...) to these events remains to be known have helped to make trauma an emblematic issue at the end of a century saturated with unprecedented wounding events [see Caruth, Unclaimed Experience].1 Trauma’s enigmatic immediacy thrusts itself upon any attempt to encompass it within a theory. It is as though no one approximates (even the study of) trauma with impunity: complex affects are stirred. A precipitous interplay of cognitive and affective dispositions, a heightened tension between the intense identifications elicited and the need experienced for some protective distance from the pain evoked undermine the stability of the boundaries between witnessing and telling, event and historical narration, narrative and reading. Hence the ambivalent appeal of the notion of trauma for the historian as well as for the cultural and literary theorist.The most cursory description of trauma reflects the complex temporal structure that punctuates the psyche’s relation to the traumatic event. The asymmetrical relation between experience and memory and the gross disparity between their affective and cognitive components are evident at once. Trauma has been characterized by virtue of the disjunctions it manifests. Its very formulation bears the mark of a construction emerging as the narrative of a belated experience.2 In recent publications on trauma, the references to the works of Freud, Janet, Kardiner, Lacan, and Laplanche take pride of place. Also noticeable is the emphasis placed on certain psychoanalytic notions: deferred action, death instinct, repetition compulsion, the real.Along with the explorations of trauma by psychoanalysts, historians, and literary theorists and the ethical issues they bring to the fore, the research of neurobiologists and cognitive scientists has raised a number of epistemological issues. A new wave of radical questioning of psychoanalysis comparable to that of the beginnings of this century shows its force today. The notions of repression and the repressed are considered logical impossibilities; the operations of the unconscious are deemed entirely inexplicable; and [End Page 134] defense mechanisms are considered to be mere verbal paradoxes. In what appears to be a species of defensive tactics, a supposedly neurophysiological rephrasing of psychoanalysis is taking place in some quarters, seemingly oblivious to the possibility of profoundly altering the very cohesion of this theory through the process of revision.Otto Fenichel in the thirties and Masud Khan in the sixties have provided us with succinct yet comprehensive overviews of the manner in which, since the very beginnings of psychoanalysis, every phase of theory making has influenced and reciprocally been influenced by the current concept of trauma and its clinical evaluation. It could be said that psychoanalytic theories are themselves organized around some sort of trauma. This is clearly the case in Freud’s theorizing. After his initial theory where the interrelated aspects of trauma, repression, and symptom formation became problematic, he arrived at the conclusion that castration constituted what might be termed a nuclear structuring trauma. An analogous theoretical point is implied in the Lacanian notion of the splitting of the subject. A normative trauma defines the limits of these theories and establishes a fixed relation between historical structural events. One has to shift perspectives in reading the works of those analysts concerned particularly with object relations. For example, Melanie Klein’s clinical researches on early childhood led her to postulate that the traumatic pathogenic situation par excellence is the overriding triumph of the death instinct. Winnicott understood this situation as entailing the annihilation of the core self by intrusion, while defining the traumatic impingement as the failure of the holding environment.It is relevant to comment on these different perspectives, as they afford the psychoanalytic clinician the possibility of differentiating between structuring (sexual) trauma and narcissistic trauma. When the sexual seduction trauma theory was displaced by the theory that privileged psychic reality, the Oedipus complex became... (shrink)

ExcerptIn a letter to his friend and intellectual collaborator Theodor W. Adorno, on December 25, 1935, Walter Benjamin describes music as a field of inquiry “fairly remote” from his own.1 Several years later, in another letter to Max Horkheimer, he writes that the “state of musical affairs … could not be any more remote” for him.2 Yet despite these claims of unfamiliarity with aurality, there are numerous observations on acoustic phenomena throughout Benjamin's oeuvre. From his early essays on language to (...) his autobiographical studies and late works on critical historiography, Benjamin displays a keen sensitivity to sound that ranges from…. (shrink)

Empathy, and its role in human-human and human-animal relationships has been discussed at length in recent years. Empathy for plants has received little to no attention. In this essay I briefly examine existing theory about human-plant empathy, primarily Marder’s account of a projective empathy. I use contemporary scholarship by Dan Zahavi, as well as phenomenological accounts of empathy, to query this understanding of empathy and to lay the conceptual groundwork for developing an account of empathy for plants in line with (...) Max Scheler’s embodied empathy. In doing so, I sketch an account of the basis for human-plant empathy, including the gestures and behaviors that an empathy for plants may pay particular heed to. The essay concludes by outlining how such an empathy for plants may be developed. (shrink)

P. Cheyne, A. Hamilton, M. Paddison, The Philosophy of Rhythm : Aesthetics, Music, Poetics, New York, Oxford University Press, 2019 – ISBN 978-0-19-934778-0 This review has already been published in Horizon. Studies in Phenomenology 10, 2021 : II, pp 312-319.: The review provides an outline of the collective monograph The Philosophy of Rhythm : Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, - Recensions.

Max Ferdinand Scheler was born in Munich on August 22, 1874 and brought up in an orthodox Jewish household.1 Aft er completing high school in 1894, he started to study medicine, philosophy, and psychology. He studied with Th eodor Lipps in Munich, with Georg Simmel and Wilhelm Dilthey in Berlin, and with Rudolf Eucken in Jena,2 where he received his doctorate in 1897 with a thesis entitled Beiträge zur Feststellung der Beziehungen zwischen den logischen und ethischen Prinzipien. Two years later (...) this was followed by his habilitation thesis on Die transzendentale und die psychologische Methode. In 1902, Scheler met Edmund Husserl for the fi rst time at a reception in Halle given by Hans Vaihinger, the editor of Kant-Studien. Th. (shrink)

Husserls »Logische Untersuchungen« sind eines der folgenreichsten Werke der neueren Philosophiegeschichte. Mit dem ersten Erscheinen in den Jahren 1900 und 1901 (Max Niemeyer Verlag, Halle/Saale) nimmt jene Schule ihren Anfang, deren Name im Untertitel des zweiten Bandes zum ersten Mal sinnfällig wird: die Phänomenologie. Husserl sah damals in diesem Werk »Versuche zur Neubegründung der reinen Logik und Erkenntnistheorie«, die den Grund zu einem größeren Gedankengebäude zu legen imstande waren. Sie wollten freilich kein bloßes Programm sein, sondern »Fundamentalarbeit an den (...) unmittelbar erschauten und ergriffenen Sachen« darstellen. Die weitere Arbeit an der Ausprägung der phänomenologischen Philosophie führte schon nach wenigen Jahren zu neuen Problemen, zu vertieften Erkenntnissen und zu schärferen Formulierungen. Ihnen trägt die zweite, zum Teil tiefgreifend umgearbeitete Auflage Rechnung, deren Text seither in unveränderter Form immer wieder nachgedruckt wurde. (shrink)

A special issue of_ New German Critique_ The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the "heroic" or high-bourgeois era to late (...) modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s _Aktualität_—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past. Contributors Daniel K. L. Chua, Lydia Goehr, Peter E. Gordon, Martin Jay, Brian Kane, Max Paddison, Alexander Rehding, Fred Rush, Martin Scherzinger. (shrink)

Research in sport pedagogy and its applied recommendations are still characterized by a contrast between the different learning theories from psychology. Traditional theories and their corresponding approaches to the specific case of teaching and learning “how to play [team sports like soccer]” are subject to compatibilities and incompatibilities. We discuss how behaviorism as an approach to teaching the game shows more incompatibilities with the nature of tactical actions when compared to constructivism. As coaches strive to teach the game and make (...) their players and team perform, we argue that teaching the game requires teaching approaches that will help develop their way to play without taking away their autonomy and adaptiveness. The teaching-learning-training process for playing the game should then be conducted to harmonize the characteristics of the contents, the context, and the individual at hand. We provide two illustrated examples and portray how the recommended approaches fit key contents of the game that are observed in the tactical behavior. We finally argue that the coherent design of games provides minimal conditions to teaching approaches, and that such a design should be a priority when elaborating the learning activities along the player development process. As a conclusion, the interactionist theory is the one that best serves the teaching of the game and the development of tactical behavior. We therefore defend that its principles can help coaches tailor their own strategy to teach the game with the many tools. (shrink)

In Queer Social Philosophy, Randall Halle analyzes key texts in the tradition of German critical theory from the perspective of contemporary queer theory, exposing gender and sexuality restrictions that undermine those texts' claims of universal truth. Addressing such figures as Kant, Hegel, Marx, Nietzsche, Adorno, and Habermas, Halle offers a unique contribution to contemporary debates about sexuality, civil society, and politics.

Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used (...) cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing. (shrink)

The description for this book, Men and Nations, will be forthcoming.

This book is based on the premise that the realm of being is meaningful to the extent that we are able to view it comprehensively. Our understanding, in its degree, depends on the breadth of our knowledge; for everything, as we shall see, tends to shed light on everything else. But the knowledge we have today, although far exceeding that of our predecessors, does not serve this purpose of illumination insofar as it remains unassembled, partitioned among the minds of the (...) specialists who respectively represent the fields into which it is divided. ... In one of its aspects, this book is an exercise in perspective. As such, it will have much to say of the very small and the very large, of analysis and synthesis.--Preface. (shrink)

Foucault's discussion of the panopticon is the best-known engagement with visual epistemology, the relationship of sight and knowledge. Yet the panopticon is only one form of visual epistemology and all technologies of perspective position and situate their subjects. As a colloquial statement of visual epistemology we might say: you are how you see. This essay focuses on the cinematic episteme or how the technology of cinema configures a way of seeing and way of knowing. Specifically this essay takes up a (...) narrower question of visual alterity. Beginning from Hegel's discussion of consciousness, it asks how within and through film we recognise our self and how can we see the other? To carry out the analysis, the essay attends in particular to two films Baby I will Make You Sweat (1994) and La Moderna Poesia (2000) by experimental and underground artist Birgit Hein. These films combine incongruous and even conflicting representational strategies that particularly enable an exploration of visual alterity. Both films on the one hand narrate a highly subjective experience of self/other relations within the context of a travel narrative: a woman seeking to recapture some sense of life, travels to an unfamiliar destination, enters into new environments and takes up relationships, sometimes intimate, with strangers. On the other hand they both rely on a form of aesthetic abstraction that leaves the film without renaissance perspective, panoptic organizing, shot-reverse shot, continuity editing, i.e. an of the typical representational strategies of alterity found in narrative films. (shrink)

To write of “the” philosophy of transhumanism is a little daring. The growth of transhumanism as a movement and philosophy means that differing perspectives on it have formed.