The aesthetic -- The ethical -- The no woman's land of Kierkegaardian exceptions -- The religious.

With reference to significance of number nine in the musical compositions of Carnatic music of India; a study.

Some rules seem more important than others. The moral rule to keep promises seems more important than the aesthetic rule not to wear brown with black or the pool rule not to scratch on the eight ball. A worrying number of metaethicists are increasingly tempted to explain this difference by appealing to something they call “authoritative normativity” – it’s because moral rules are “authoritatively normatively” that they are especially important. The authors of this chapter argue for three claims concerning “authoritative (...) normativity”: (1) that motivation for it originates in a parochial conception of “normative flavours”; (2) that arguments against alternative ways of explaining e.g., morality’s importance are overblown; and (3) that there are strong reasons against theorizing in terms of “authoritative normativity”. The overarching aim is not to show that “authoritative normativity” is incoherent or entirely unmotivated. Rather, it is to discuss some of “authoritative normativity’s” deeper commitments to correct the impression that is it largely benign or that it is entailed by familiar and popular “metanormative” positions. Authoritative normativity, it seems to us, is a solution in search of a problem. (shrink)

This book urges educational institutions to contemplate the harm they have caused to individual and society by their tragic suppression of the energy essential to the flowering of the mind's full potential. No more strident and uncompromising a voice is to be found on this topic than Whitehead's, in _The Aims of Education and Other Essays_. Walker's interpretation of these essays is set in a story of the lives of several teachers, education students, parents, and a professor. Whitehead's presence is (...) conjured among them as an uncomfortable and challenging gadfly. The philosophic depth is made widely accessible through the conversational language of imaginary journals and dialogues. This strategy also enables Walker to demonstrate the neglected power of dialogic pedagogy, and to suggest its centrality in the realization of Whiteheadian aims. The dialogues show a group of people curiously energized by an inquiry in which their stereotypical foundations are crumbling under the combined impact of focused dialogue and the brilliance of Whitehead's counterpoint. Their creative vitality of mind is shaken out of the narcosis of ingrained routines and secondhand ideas, and they discover the forgotten power of revitalizing outlook and action with an individual discernment of meaning, importance, and truth. They have immediately experienced the very quality of mind and its manner of cultivation Whitehead insists upon. This is intelligence enriching life with its full and interweaving spectrum of intellectual, aesthetic, ethical, and spiritual sensitivities. (shrink)

1. P'it'agorasŭ Hakp'a ŭi ŭmangnon kwa ujuron -- 2. Arisŭt'ok'ŭsenusŭ ŭi kyŏnghŏm kwahakchŏk ŭmak iron -- 3. P'ŭllat'on-P'it'agorasŭjŏk chŏnt'ong -- 4. Kŭndae roŭi ihaeng -- 5. K'ep'ŭllŏ ŭi ŭmakchŏk ujuron -- 6. Sirhŏm kwahak kwa ŭmak ŭi hamnihwa -- 7. Nyut'ŏn ŭi ŭmakchŏk yubi -- Maejŭmmal : Nyut'ŏn ihu.

With reference to significance of number nine in the musical compositions of Carnatic music of India; a study.

I discuss the social dimension of musical experience. I focus on the question of whether there is joint musical listening. One reason for this focus is that Adorno and those in his tradition give us little in the way of an understanding of what the social dimension of musical experience might be. We need a proper clear conception of the issue, which the issue of joint experience yields. I defend a radically individualistic view, while conceding that such a view, inspired (...) by Hanslick, may have political ramifications. I have two arguments. The first is a principled argument against joint musical listening from the impossibility of perceiving the aesthetic properties of music. I connect this with the privacy of our grounds for aesthetic judgements about music. The second argument accepts that joint listening could in principle span different sense modalities, but draws attention to the fact that the experiences on which aesthetic judgements are based cannot be willed in a way they would have to be if there was joint listening. Lastly, I consider two phenomena, of making music together and dancing together, which seem to involve joint listening, but in fact do not. I end by drawing an individualist conclusion about the nature of musical experience. (shrink)

Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future research in the area.

Elementos de juicio: reflejos psicosociales, tendencias de los elementos.--El compromiso en el arte: dinámica de las relaciones estructurales en la mímesis artística.

After the collapse of the totalitarian regimes, participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem of participation is the focal point of art and politics.