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How Music Works

Canongate (2012)

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  1. Reframing the director: distributed creativity in film-making practice.Karen Pearlman & John Sutton - 2022 - In Ted Nannicelli & Mette Hjort (eds.), A Companion to Motion Pictures and Public Value. Wiley Blackwel. pp. 86-105.
    Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious individualist assumptions (...)
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  • The reappearing tool: transparency, smart technology, and the extended mind.Michael Wheeler - 2019 - AI and Society 34 (4):857-866.
    Some thinkers have claimed that expert performance with technology is characterized by a kind of disappearance of that technology from conscious experience, that is, by the transparency of the tools and equipment through which we sense and manipulate the world. This is a claim that may be traced to phenomenological philosophers such as Heidegger and Merleau-Ponty, but it has been influential in user interface design where the transparency of technology has often been adopted as a mark of good design. Moreover, (...)
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  • Creation through Polychronization.John Matthias - 2017 - Avant: Trends in Interdisciplinary Studies 8 (T):161-165.
    I have recently suggested that some of the processes involved in the collaborative composition of new music could be analogous to several ideas introduced by Izhikevich in his theory of cortical spiking neurons and simple memory, a process which he calls Polychronization. In the Izhikevich model, the evocation of simple memories is achieved by the sequential re-firing of the same Polychronous group of neurons which was initially created in the cerebral cortex by the sensual stimulus. Each firing event within the (...)
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  • Scienticity and Artistry Across All Subjects.Anthony Lock - 2018 - Philosophia 46 (2):355-377.
    Both scienticity and artistry have been listed in cluster concept definitions for both science and art. However, these clusters have not been considered together before. I contrast and combine these different clusters for the first time, and I argue that doing so better elucidates the properties of the natural sciences, humanities and fine arts than the science and art cluster concepts do separately. This is because all disciplines have varying levels of scienticity and artistry, but this is not captured fully (...)
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  • Why Roger Federer is a GOAT: an account of sporting genius.Joe Higgins - 2018 - Journal of the Philosophy of Sport 45 (3):296-317.
    ABSTRACTWhy is Roger Federer a GOAT of tennis? I argue that the correct response goes beyond statistics and style of play; instead, it is due to the fact that Federer embodies the qualities that typify sporting genius. More than merely being a developed or refined form of expertise, sporting genius relies on the notion of performative fit; that is, the capacity to express viable ways of succeeding within a given sport in virtue of one’s cultivated history of biological and socio-cultural (...)
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  • The Varieties of Musical Experience.Brandon Polite - 2014 - Pragmatism Today 5 (2):93-100.
    Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...)
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