The most important structural feature of the music of the New World is its often-time polyrhythmic and polymetrical character. This is also a key to unlocking the nature of social form and democratic persona in the diasporic and settler metropolises of the New World. In such settings, composers and musicians working with simultaneous temporalities, lines, groups, textures and characters offer intimations of a just totality for culturally fragmented societies.

This paper examines the role of performance in law and music as a structural means of their self-programming construction. Music and law are considered as parallel social practices or performative doings. The paper begins with a critical analysis of the special aesthetical features of present-day juridical practice as exemplified by legal trial and legal expertise. Drawing upon reflections on the modern discourse on aesthetics and art, the article then examines in greater detail the specific traits of performance in law and (...) jazz music. Performative processes move from representation to presentation, from a preoccupation with rules and controlling to induced self-programming. Both law and jazz regard the unknown future as a resource for present decisions by “inventing” new possibilities; both require, expand and promote a responsibility that does not follow from statutes nor can be expressed in a code of ethics. Finally, the article addresses the performance situation in jazz. Jazz being polyphonic and improvisational by nature, improvisation makes explicit tradition by staging the context dependency of its performance. It is mediated by the knowledge, the operational history and the communication of the participants. Jazz is an exercise in the possibilities of an “aesthetics of imperfection” which can open up new ways of seeing law and politics. (shrink)

Descartes understood the subject matter of physics (or natural philosophy) to encompass the whole of nature, including living things. It therefore comprised not only nonvital phenomena, including those we would now denominate as physical, chemical, minerological, magnetic, and atmospheric; it also extended to the world of plants and animals, including the human animal (with the exception of those aspects of the human mind that Descartes assigned to solely to thinking substance: pure intellect and will). Descartes wrote extensively on physiology and (...) on the physiology and psychology of the senses. This chapter examines the notions of *physiology* and *psychology* in medical and natural philosophical works of Descartes' day; follows his efforts to bring physiology into his mechanistic idiom; considers the relation between physiology of the animal machine and psychological functions that yield functionally appropriate behavior; goes into his physiology and psychology of vision; and elaborates the tension in Descartes' works between his metaphysically supported micro-corpuscularism and his discussion of the animal machine as an organic unity comprising various functionally and teleologically characterized systems. The chapter draws on Descartes' works in both metaphysics and natural philosophy, including his Treatise on Man (originally published as L'Homme, 1664). (shrink)