The Treatise on musical objects by Pierre Schaeffer is regarded as his most important work on music and its relationship with technology. Schaeffer refers to his earlier research in musique concrète and expands this to suggest a methodology of working with sounds resulting from the recording process. Drawing on acoustics, physics, and physiology, but also philosophy and the relationship between subject and object, Schaeffer's book summarizes his theoretical and practical work in music composition. North and Dack (...) present an important book in the history of ideas in Europe that will resonate far beyond electroacoustic music."--Provided by publisher. (shrink)

Le Service de la recherche, partie intégrante mais autonome de l'ORTF, a connu quinze ans d'existence entre le Club d'essai auquel il succède et l'Institut national de l'audiovisuel, dont il prépare lointainement la fondation. Il faut noter qu'en 1960, les modestes studios du 37 rue de l'Université ne s'occupent plus de recherche radiophonique, mais sont voués depuis une dizaine d'années à la musique concrète et expérimentale. La pression de la télévision s'accentuant et devenant le souci majeur de la RTF, il (...) est donc dans la logique institutionnelle de voir mobilisés à d'autres fins des moyens de recherche jusque-là consacrés à la musique. Pierre Schaeffer se lance dans une recherche expérimentale intégrée au dispositif que représente la radiotélévision, nouvelle aventure qui va jouer un rôle essentiel dans les domaines de l'information et de la communication avant même qu'il ne formalise sa théorie.The Research Service, part of the autonomous but ORTF had fifteen years of existence between the Club test to which it succeeds and the National Institute of Audiovisual, which prepares the foundation distantly. It should be noted that in 1960, the modest studios 37 rue de l'Université not occupy more research radio, but are destined for a decade with musique concrète and experimental. The pressure is increasing and television became the major concern of the RTF, it is the institutional logic of seeing mobilized for other purposes means research hitherto devoted to music. Pierre Schaeffer embarked on an experimental device that is integrated broadcasting, new adventure that will play a key role in the fields of information and communication before he formalized his theory. (shrink)

"The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the (...) function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream. Keywords: Schaeffer, Husserl, phenomenology, music, body, aesthetics ". (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine (...) the conditions of this critique. While Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

Cet article cherche à préciser le sens de la pratique que Pierre Schaeffer s’efforce de promouvoir dans le Traité des objets musicaux : « s’exercer à mieux entendre ». Le problème posé est le suivant : que signifie l’idée de chercher à mieux entendre quand, comme dans cet ouvrage, et contrairement à la pratique traditionnelle des classes de solfège, les sons que l’on écoute échappent à tout langage musical établi d’avance, et qu’on ne sait donc pas ce qu’il (...) est bon d’entendre en eux? L’article répond à ce problème en expliquant le but des recherches présentées dans le Traité, et en montrant comment la pratique collective de l’exercice y devient une méthode de recherche expérimentale des valeurs musicales. Cette réponse est ensuite mise en relation avec l’idée que Schaeffer se fait de l’art comme exercice spirituel, ce qui suggère que l’exercice n’est pas seulement un moyen, mais peut-être une fin en soi. (shrink)

This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue (...) that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framing politics and ethics, which are also characterized by descriptive and prescriptive approaches. By showing how theories of listening connect to political and ethical debates, this study discusses the ideological instrumentalization of listening as opposed to more descriptive and exploratory forms of engagement in the auditory and the faculty of the ear. (shrink)

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our (...) perceptual images of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music. (shrink)

Sul piano terminologico, ontologico, percettivo, fenomenologico, psicologico, storico-musicale, l'articolo discute in successione le categorie interconnesse di suono, oggetto sonoro (anche nell'accezione proposta dalla scuola di Pierre Schaeffer), oggetto uditivo e oggetto musicale, in particolare alla luce degli sviluppi della musica contemporanea postonale. Una differenza fondamentale è rinvenuta tra il livello fisico di esistenza del suono (che ha quattro dimensioni: tempo, frequenza, ampiezza, spazio) e il livello fenomenico di esistenza degli oggetti uditivi (che sono considerati come rappresentazioni mentali, dotate (...) di cinque dimensioni elementari: durata, altezza, intensità, timbro, spazio). Durante il Novecento la musica ha espanso gradualmente i propri confini, arrivando a includere qualsiasi tipo di oggetto sonoro (quindi il rumore, nonché tutti i suoni dell'intera realtà extra-artistica). Inoltre certi stili musicali (ad esempio il minimalismo, la drone music, lo spettralismo) hanno valorizzato quello che si può definire “oggetto musicale minimo”: la più piccola differenza percettivamente saliente in una qualsiasi delle cinque dimensioni. Ciò comporta che un oggetto musicale può essere qualcosa di più piccolo di un suono definito nelle sue quattro dimensioni. Una riflessione speciale è dedicata alla categoria di timbro, che diventa il campo di elaborazione principale per i compositori delle tendenze postonali; poi alla categoria di durata, che non coincide con quella di tempo e in musica è fatta oggetto di un’elaborazione specifica. (shrink)

Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position (...) according to which an adequate phenomenology of auditory experience must refer to mechanisms of sound generation. This position is shown to follow from a phenomenology of sounds as located events and a physicalist account of auditory properties as features of the temporal development of such events. (shrink)

A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body and (...) language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself”—not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann. (shrink)

Usually, when we determine the authenticity of a performer in popular music then we do so either through their biography or their inherence within a tradition. The question of authenticity then becomes one of betrayal. This article argues that there might be a unique way of approaching authenticity through affects, where authenticity is impersonal rather than personal. It uses the work of Pierre Schaeffer to describe the difference between indexes and signs on the one hand, and affects on (...) the other, to develop a concept of abstract subjectivity, which is not the same as the individual. It explains abstract subjectivity through Will Oldham’s description of his performance. Finally, it compares this method of listening to popular music with Blanchot’s description of literature as free indirect discourse, speaking without a first person. It is abstract subjectivity that allows popular music to resist its own commodification, which is the very opposite of authenticity. (shrink)

Nulla dies sine linea (Pline l’Ancien à propos d’Apelle) « Regarde de tous tes yeux, regarde » (Jules Verne et Georges Perec) « Travaille ton instrument » (Pierre Schaeffer) Essentielle à toute activité artistique, la pratique d’exercices est pourtant rarement interrogée en tant que telle. Qu’est-ce qu’un exercice artistique? Quelles perspectives la pensée de l’exercice permet-elle d’ouvrir sur la compréhension des pratiques artistiques, sur leurs liens avec les savoirs et les techniques, su...

According to the acousmatic thesis defended by Roger Scruton and others, to hear sounds as music is to divorce them from the source or cause of their production. Non-acousmatic experience involves attending to the worldly cause of the sound; in acousmatic experience, sound is detached from that cause. The acousmatic concept originates with Pythagoras, and was developed in the work of 20th century musique concrète composers such as Pierre Schaeffer. The concept yields important insights into the nature of (...) musical experience, but Scruton's version of the acousmatic thesis cannot overcome objections arising from timbral and spatial aspects of music, which seem to relate sounds to the circumstances of their production. These objections arise in part from music's status as a performing art rooted in human gesture and behaviour. Hence I defend a two-fold thesis of "hearing-in", which parallels Richard Wollheim's concept of "seeing-in": both acousmatic and.. (shrink)

The essay intends to revisit certain phenomenological themes present in the theoretical work of Pierre Schaeffer, based on his most important and influential book: the Traité des objets musicaux. A French engineer and composer, Schaeffer was the initiator – from the point of view of its musical practice, and its theoretical analysis – of one of the most important musical avant-gardes of the 20th century, musique concrète. The objective of the article will be to consider Schaeffer’s (...) main reference – the phenomenology of Edmund Husserl – and suggest that Maurice Merleau-Ponty’s phenomenology could be a prism that helps to understand and expand the heterogeneous and incomplete research project the French composer documented extensively in his writings. (shrink)

In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that (...) these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice-Merleau-Ponty, Alain Badiou, and Félix Guattari. In so doing we seek to find between these practices points of both conjunction and disjunction which enrich our understanding of Cage’s and Deleuze’s work, and, more widely speaking, of the passage of twentieth century music and philosophy in general. Here we hope to make contributions to the fields of continental philosophy and music theory especially, and to open a point of engagement with the nascent field of sound studies. (shrink)

Entretien à Paris, le 15 décembre 2006, avec Beatriz Ferreyra, compositrice de musique acousmatique. Cette musicienne, née en 1937 à Cordoba en Argentine, s’est installée en France en 1961 et a rapidement été en contact avec la recherche musicale expérimentale autour des travaux de Pierre Schaeffer, le célèbre inventeur de la musique concrète. Elle compose depuis 1967 et jouit aujourd’hui d’une reconnaissance internationale. Nous la remercions vivement de s’être prêtée très simplement au jeu...

The discussion about the uses of the concept “musical object” highlights the difficulties of the project – put forward by Pierre Schaeffer (1966) – of basing its definition on the idea of “objet sonore”. Moreover, the proposal to assimilate the functions of the “objet sonore” to those fulfilled by a “musical work” turns out to be no less problematic. A new definition is proposed: a musical object is a social object resulting from the inscription of perceived sound(s), or (...) of the acoustic event(s)/object(s), in a reference system recognized as “musical” by a group of (minimally) two people. (shrink)

En s'inscrivant dans une problématique posée par Pierre Schaeffer à propos d'une utilisation des moyens de communication au profit de groupes sociaux d'intérêts communs, cet article présente les conditions d'émergence et de fonctionnement des réseaux spécifiques de communication sociale à partir de l'exemple concret de la radio Antélim, et il s'interroge sur une éventuelle préfiguration d'Internet. Dans un premier temps, un rappel des théorisations, recherches et expériences, menées au cours des années 1960-1970, dégagera les conditions d'une communication participative, (...) interactive et multipolaire, modèle alternatif à celui, dominant, des mass média. Puis, l'étude de l'expérimentation d'Antélim menée en France entre 1978 et 1985 avec le milieu de la marine marchande mettra en lumière l'origine du projet, sa mise en oeuvre et présentera une évaluation de l'expérience. Enfin, la question de la préfiguration d'Internet par ces réseaux spécifiques de communication sociale via la radio sera posée pour tenter de définir des parallèles possibles entre ces deux dispositifs.By entering in a problem posed by Pierre Schaeffer about a use of means of communication for the benefit of groups of common interests, this article presents the conditions for the emergence and operation of specific networks of social communication from the example of the radio Antélim, and he wondered about a possible forerunner of the Internet. At first, a reminder of the theories, research and experiments, conducted in the years 1960-1970, will identify the conditions for participatory communication, interactive and multipolar alternative model to the dominant, mass media. Then, the study of Antélim experimentation conducted in France between 1978 and 1985 with the middle of the Merchant will highlight the origin of the project, its implementation and present an evaluation of the experience. Finally, the question of the forerunner of the Internet by these specific networks of social communication via the radio will be asked to try to identify possible parallels between these two devices. (shrink)

Recent empirical and conceptual research has shown that moral considerations have an influence on the way we use the adverb 'intentionally'. Here we propose our own account of these phenomena, according to which they arise from the fact that the adverb 'intentionally' has three different meanings that are differently selected by contextual factors, including normative expectations. We argue that our hypotheses can account for most available data and present some new results that support this. We end by discussing the implications (...) of our account for folk psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:La séduction de la fiction by Jean-François VernayDiana MistreanuVernay, Jean-François. La séduction de la fiction. Hermann, 2019. 214pp.Published in Hermann’s prestigious “Savoirs Lettres” book series founded by Michel Foucault, Jean-François Vernay’s latest work is a compelling neurophenomenology of literary fiction. This makes it a valuable contribution to the burgeoning field of cognitive literary studies pioneered in Anglo-Saxon research in the late 1970s, but which French academia, with a (...) few notable exceptions such as Jean-Marie Schaeffer, Pierre-Louis Patoine, Alexandre Gefen, Catherine Grall, or Françoise Lavocat, is still largely reluctant to embrace. The author is a lecturer in Australian studies at the Global Institute in Sydney, and he is a bilingual literary scholar whose recent research explores the complex interface between fiction and human cognition.Vernay’s book starts by restating a narratological cliché: in the words of Paul Valéry, stories accompany humans from the cradle to the tomb, as monsters, pirates, fairies, and other fantastic creatures fascinate children’s minds from the first years of their lives (7). A truism follows this cliché: the origin of any story is the human brain (16), as the author reminds us by underlining the bio-anthropological origins of fiction in pages that cite the works of Umberto Eco and Nancy Huston (the writer who coined the notion of “espèce fabulatrice,” “the tale-teller species” [2008]), and that echo the research of scholars such as Mark Turner (1996) and Jean-Marie Schaeffer (1999). Indeed, oral and written stories are not only created, but also interpreted by human minds, triggering states and emotions that range from extreme boredom to excitement and inviting identification with fictional characters. Nevertheless, the mechanisms of the interaction between the human mind and brain and one of its most sophisticated products, namely fiction, are largely still understudied in the field of literature. Placing fiction under the sign of seduction (8) – which allows us to read between the lines an homage to Roland Barthes, the theorist of the “plaisir du texte” referenced later in the book (85-86) – Vernay defines works of fiction as catalysts of a sensori-affective experience [End Page 151] that engages almost all our senses and arouses emotions (“le vecteur d’une expérience sensori-affective qui sollicite la quasi-totalité de nos sens et suscite des émois” [19]). Characterized by the interdisciplinarity that forms the core of cognitive approaches to fiction, Vernay’s study investigates the literary phenomenon in its complexity, asking not only how fiction seduces us, but also why it sometimes fails to do so. Drawing on state-of-the-art research in cognitive psychology and neuroscience, the book manages to eschew over-simplified or reductionist analyses. Our engagement with and consumption of literary fiction is thus analyzed by discussing marketing strategies and editorial choices, the activity of reading as a solitary pleasure versus a professional obligation, as well as the interplay between society, politics, and educational curricula. The author answers his multi-layered research question in nine different chapters, each of them exploring one facet of the relationship between literature and the human mind.The first chapter, “Émois livresques,” highlights the marketing value of books, as well as their status as objects of consumption, in the capitalistic sense of the word. Books are presented here as the targets of our desire, since in financial terms, the notion of reader, the author reminds us, is a mere euphemism for that of consumer (20-22). As we are entering the era of what Yves Citton, often quoted in this essay, calls “cognitive capitalism,” a system in which society is conceptualized as a set of machines that process information (21), fictional literature, along with the arts, is devalued. To counterbalance this trend, Vernay explains, the book industry has to adopt effective strategies that create a desire for consumption. Thus, this chapter addresses the editorial and marketing techniques designed to attract our attention and trigger our impulse to buy and read. From the smell and color of books to the blurb and the careful mention of literary prizes, no detail is overlooked or considered redundant.After addressing the... (shrink)

Tied to the apron strings of the church -- Researcher, teacher, philosopher -- Philosophical discourse -- Interpretation, objectivity and nonsense -- Unitary experience and philosophical life -- Philosophical discourse as spiritual exercise -- Philosophy as life and as a quest for wisdom -- From Socrates to Foucault : a long tradition -- Inacceptable? -- The present alone is our happiness.

Há dois movimentos simultâneos no campo religioso brasileiro: um primeiro de distinção, multiplicação e rupturas; um segundo de relativa homogeneização. No campo cristão, o fenômeno mais visível é o da entrada maciça dos pentecostais, não só na arena religiosa em geral, mas nos seus pontos de alta visibilidade, especialmente populares. O significado da preferência dos pobres e do aparente trânsito do catolicismo ao pentecostalismo tende a representar o trânsito entre duas culturas: a tradicional católica afro-brasileira, e a cultura moderna de (...) escolha individual. A Nova Era, por exemplo, representa ao mesmo tempo a contudente negação de uma modernidade individualista, racional e dessacralizadora, a tentativa de recapitular, no que tem de global, espiritual, carnal e cósmico, o caminhar do homem para uma completude nunca atingida, porque nunca concluída. Assim, o meio religioso brasileiro, sobretudo popular, mas não exclusivamente, vive num certo clima espiritualista que parece compartilhado por várias mentalidades no Brasil. Pode-se então levantar a seguinte questão: como escapar, neste nosso olhar sobre as religiões dos brasileiros, de uma visão tão linearmente evolucionista, positivista na sua concepção, repressiva na sua política? (shrink)

The model organism Saccharomyces cerevisiae is providing new insights into the molecular and cellular changes that are related to aging. The yeast protein Sir2p (Silent Information Regulator 2) is a histone deacetylase involved in transcriptional silencing and the control of genomic stability. Recent results have led to the identification of Sir2p as a crucial determinant of yeast life span. Dosage, intracellular localization, and activity of Sir2p all have important effects on yeast longevity. For instance, calorie restriction apparently increases yeast life (...) span by increasing Sir2p activity. Since Sir2p‐related proteins have been identified in many prokaryotic and eukaryotic organisms, the fundamental principles derived from the studies in yeast may prove valuable in directing our future research toward an understanding of the mechanisms of aging in higher eukaryotes. BioEssays 23:327–332, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

The members of the phylum Cnidaria (corals, sea anemones, medusae) are all equipped with stinging cells (cnidocytes, nematocytes), which serve mainly in prey capture and defense. The secretory product of these cells is a most complicated extrusome consisting of a cyst containing a tubule and a liquid matrix. Mechanical stimulation of the cell's cnidocil apparatus by a prey or an offender leads via bioelectrical signal transduction to the explosive discharge of the cnidocyst. In stenoteles of Hydra this process, during which (...) the tubule is everted out of the cyst, takes less than 3 msec. The forces involved are partly due to spring‐like tensions stored in the collagenous structural compartment, and partly to an osmotically generated intracapsular pressure, which can amount to 150 bar (1.5 × 107 Pa). The osmotic machinery depends on the presence in the cyst's matrix of inorganic cations (either K+, Mg2+ or Ca2+) and rare polyanions (poly‐γ‐L‐glutamates), which, so far, have not been reported from recently evolved eukaryotes. The discharging cyst acts like a self‐reloading syringe, injecting poison and other components into the target. Since the cnidocytes are incapable of regenerating their exocytosed cysts, they have to be replaced by new cells derived by differentiation from pluripotent stem cells (interstitial cells). (shrink)

This first English-language translation captures the excitement of the original text-already a contemporary classic, and will likely become a standard reference in the history of eighteenth-century thought, politics, and society, and in the ...

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.

"This volume assembles twelve texts published between 1892 and 1915.... The editors allow one to see the genesis of the ideas of Duhem, philosopher and historian, of the variety of his styles, and sometimes also the limits of his work.... A useful index, probably unique in the field of Duhemian studies, completes the book.... The English-language public may be assured an exemplary translation and a reliable critical apparatus." --Jean Gayon, _Revue d'Histoire des Sciences_.

Besides the application of the notion of complementarity to psychological and physical descriptions of the individual, this paper explores the possibility of defining complementary observables in the same phenomenal domain. Complementary emotional observables are defined from experimental data on experienced emotions reported by subjects who have been prepared in a state of induced emotion. Complementary physiological observables are defined in correspondence with conjugate, physiological quantities that can be measured. -/- Keywords: Complementarity, Psychophysics, Emotional observables, Induced emotion, Physiological observables, Conjugate physiological (...) quantities. (shrink)

Tied to the apron strings of the church -- Researcher, teacher, philosopher -- Philosophical discourse -- Interpretation, objectivity and nonsense -- Unitary experience and philosophical life -- Philosophical discourse as spiritual exercise -- Philosophy as life and as a quest for wisdom -- From Socrates to Foucault : a long tradition -- Inacceptable? -- The present alone is our happiness.