_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

A review of Stephen Davies's book, Musical Works and Performances.

Machine learning, deep learning and neural networks are extensively applied for the development of many fields. Though their technologies are improved greatly, they are often said to be opaque in terms of explainability. Their explainable neural functions will be essential to realization in the networks. In this paper, it is shown that the bio-inspired networks are useful for the explanation of tracking and classification of features. First, the asymmetric network with nonlinear functions is created based on the bio-inspired retinal network. (...) They have orthogonal properties useful for the tracking of features compared with the conventional symmetric networks, which is also proposed on the biological functions. Next, the analysis for the independence of the subspaces between the Fourier bases and the asymmetric network bases is performed. It was that the asymmetric networks have better performances in the classification compared with the symmetric ones. Further, the layered asymmetric networks generate the higher dimensional orthogonal bases that improve the classification accuracies by the replacements of bases. Finally, we classified Reuters collections data applying the explainable processing steps, which consist of the linear discriminations and the sparse coding with nearest neighbor relation for classification. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be (...) termed 'performance-works', as, for example, in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

A poetic for histories -- Sharks that walk on the land -- The face of battle : Valparaiso, 1814 -- The theatricality of history making and the paradoxes of acting -- Possessing Tahiti -- Hollywood makes history -- Inventing others -- Songlines and seaways -- Anzac day -- School at war -- Soliloquy in San Giacomo.

Given the coterie of philosophers focused on everyday aesthetics, it's fascinating that gift reception has heretofore managed to escape their scrutiny. To enact a gift, recipients begin by imagining its use. On this level, gifts serve as a litmus test. In luring us, we're taken out of our normal ways of being to experience a different side of ourselves. Enacting a gift is thus a kind of performance, whose value depends on the donee’s interpretation, just as exhibitions, concerts, staged plays (...) or books are performances of visual art, scores, scripts or texts, whose interpretations demonstrate their aesthetic value. To develop the relationship between enacting gifts and performing artworks, I begin by surveying junctures along the gift-event’s arc: reply, imagination, trust, recognition, transformation and memory. Transformations arising from agonistic gifts strike me as significant because they characterise the way gifts challenge our beliefs, eventually altering our values. That we grow to love gifts, which we originally rejected out of hand, casts doubt on self-knowledge. Enacted gifts handily challenge self-knowledge’s twin features: authority and transparency. As this paper indicates, gift reception helps both to understand ourselves better and to remove the obstacles to what Quassim Cassim calls Substantive Self-Knowledge. (shrink)

The relationship between 1. recipes, 2. ingredients and 3. dishes may be understood in analogy to the relationship between elements in the performing arts: for example, in music, 1. musical works, 2. ‘musical ingredients’ and 3. performances. The recipe’s inventor is a ‘composer’ and the cook is a ‘performer’. As I will argue, both in musical performances and in the preparation of dishes, the application of norms requires ‘creative’ adaptation to the concrete specific situation and the final product (...) emerges from practical interactions that involve transformations of their own normative bases. Hence, both in culinary practices and performing arts like music, the improvisational case is paramount for understanding how their normativity, as paradigmatic of the normativity of human practices in general, works. (shrink)

In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, (...) however, recordings are at the centre of the tradition. The work of art in rock is not a piece for performance, but the track itself, as in classical electronic music. Tracks do manifest songs which may be performed live, but these are not the primary focus of critical attention in rock. In jazz, there are no works of art. This is because the primary focus of critical attention in jazz is the performance, and the relation between standard on which the performance is based and the performance itself is too dissimilar from the model of classical work-performance. Jazz recordings, however, like classical recordings, are best thought of as providing access to performances. These ontological issues are important in part because of their implications for evaluation and musical practice. If rock works are ontologically like classical electronic works, then criticism of them should focus not just on their formal harmonic structures, but on their use of timbral and spatial effects. Since classical recordings endure, but live performances do not, performers should ideally take a different attitude to work-interpretation in those two spheres. (shrink)

Previous research has documented that type 2 diabetes mellitus is associated with cognitive impairment. Psychological variables were repeatedly investigated to understand why T2DM patients are poorly active, despite standards of medical care recommends performing aerobic and resistance exercise regularly and reducing the amount of time spent sitting. This exploratory study aims to investigate how affective variables as thoughts, feelings, and individuals’ stage of exercise adoption can modulate low cognitive performances during an experimental procedure based on exercise. The Exercise Thoughts (...) Questionnaire, Exercise-Induced Feeling Scale, and Physical Activity Stage of Change were administered to a sample of 12 T2DM patients. The Bivalent Shape Task alone, BST with exercise [control exercise recovery + BST], and BST with metaboreflex [post-exercise muscle ischemia + BST] were used as mental task, and response time to congruent, incongruent, and neutral stimuli was recorded. Concomitant cerebral oxygenation was evaluated by near-infrared spectroscopy. As expected, T2DM patients performed significantly better when the stimulus was presented in congruent trials. In the CER + BST session, T2DM patients showed longer reaction time to incongruent trials than in the PEMI + BST and BST alone sessions. Positive feelings toward exercise seem to modulate cognitive performances in high challenging task only if T2DM patients were conscious to play exercise. These results could provide some insights for health intervention targeting exercise for patients with T2DM in order to enhance cognitive performances. (shrink)

Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type of thing any description (...) of the music can tell us, is inconsistent with Kivy's quite compelling account of performance. This shows the difficulty that actual performances pose to overly rigid conceptions of music. Daniel Barenboim unannounced performance of Wagner in Israel in 2001 shows that the problem of the boundaries of musical relevance is no mere philosophical puzzle. It is a pressing problem in the musical public sphere. (shrink)

In the English-speaking world, Jacques Derrida’s writings have most influenced the discipline of literary studies. Yet what has emerged since the initial phase of Derrida’s influence on the study of English literature, classed under the rubric of deconstruction, has often been disowned by Derrida. What, then, can Derrida teach us about literary language, about the rhetoric of literature, and about questions concerning style, form, and structure? The Derrida Reader draws together a number of Derrida’s most interesting and idiosyncratic essays that (...) treat literary language, the idea of the literary, and questions of poetics and poetry. The essays discuss single tropes or concepts, a figure such as metaphor, the ideas of titles and signatures, proper names, and Derrida’s thinking on such subjects as undecidability or aporia. The editor’s introduction is a demonstration in practice of how Derrida reads and how he adapts the act of reading to the text or figure in question. The introduction also outlines each essay’s main points, its usefulness for reading literary texts, and its particular area of interest. The Derrida Reader thus provides students of literature with a focused, contextualized, and readily understandable volume. (shrink)

The enduring significance of gender and how it intersects with class in the organization of parenting, domestic and professional work has been obscured in contemporary neoliberal contexts. This article examines how Greek academic women conceptualize and enact motherhood and the classed and gendered strategies they adopt to reconcile ‘good’ motherhood with notions of the ‘good’ academic professional. It draws on semi-structured interviews about the career narratives of 15 women in Greek medical schools in the aftermath of the Greek recession. The (...) analysis presented in this article is informed by a feminist post-structuralist paradigm and an emic approach to intersectionality. Motherhood emerged in the data as a dynamic concept, and a network of practices both constrained and enabled by gendered and classed family and work cultures. Drawing on a neoliberal ‘DIY’ and ‘having it all’ discourse, Greek mothers claimed that they could achieve almost anything professionally, if they organized their private lives sensibly. They drew on idealized discourses of motherhood, but they also contradicted these notions by doing non-traditional forms of motherhood, such as remote or transnational motherhood, afforded by their privileged social positioning and academic careers. Further research is required to investigate configurations of classed motherhood in less prestigious professions. (shrink)

This paper presents a nonlinear trajectory controller with improved performances for a general model of the waverider based on feedback linearization theory and composite nonlinear feedback technique. First, a nonlinear controller is presented using the dynamic inversion and CNF technique for the MIMO Model, and the robust stability of the proposed controller is proved. Then, the nonlinear model is established on the basis of hypersonic aerodynamic principle, and the dynamic characteristics are analyzed accordingly, and the periodic trajectory is designed (...) and optimized in combination with a fuel optimization problem. Furthermore, the nonlinear controller is applied to the trajectory tracking of the waverider model, and the general design steps are provided the flight controller using this nonlinear control method. Finally, an illustrative example is given to verify the effectiveness of the nonlinear controller of the waverider, and the flight performances are improved accordingly, including system stability, robustness, and tracking ability. (shrink)

Developing novices’ proficiency in skilful activities is central to the reproduction of human societies. The interactional practices through which instruction is accomplished have provided a rich focus for ethnomethodological and conversation analytic studies examining classroom settings, and, more recently, non-classroom environments of instruction in practical and manual skills. This paper examines the work of instruction in basketball training and in particular the correction of player performances, which are a ubiquitous and central feature of instruction in basketball training sessions. A (...) central part of this instructional action relies on the coach observing training activities to determine players’ competencies and to extract relevant correctables from the players’ embodied displays, which are in turn embedded within complex arrangements of rapidly moving bodies situated in material environments. In this paper we examine the visual-analytic work involved in both organizing and observing a basketball training activity, demonstrating the sequential layering of multiple membership categorization devices drawn upon in producing and recognizing actions in this setting. We argue that the coach deploys spatial orientations which function analogously to membership categorization devices, with players’ bodily positions relative to one another and the material structure of the surround generating category-like sets of rights, responsibilities, and sequential relevancies. As we demonstrate, these orientations provide crucial resources for the identification of players’ errors and thereby for the organization of instruction in interaction in this setting. (shrink)

… our faults do not allow our qualities to show themselves to best effect. That is why, at the moment, Brazilians are a people of intermittent qualities and permanent faults.Mário de Andrade, Essai sur la musique brésilienne, 1928This paper sets out to discuss the use and power of music in representing social identities, concentrating on the more specific case of the Brazilian nation, which has made itself a complex and all-embracing socio-political unit in spite of the great diversity and the (...) great inequalities to be found within its borders. It is well known that what appears to be its most uniform feature, the use of a dominant language, is actually quite fragmented, due to the influence of various co-existing systems of production, cultural models and social hierarchies, which change on a daily basis. Although this diversity seems to be underwritten by daily practice and independent of debate and official encouragement, the same cannot be said of the search for national unity. It is obvious in the case of most of the action undertaken with this end in mind, that questions such as exclusion and the imbalance and arbitrariness of power have been eliminated. Besides, certain alert individuals are wary of this insistence on the construction of a nation, since the role of the old national states throughout the world seems to be disintegrating in the face of the proliferation and growing importance of social, economic and cultural relations at a supranational level. It is therefore hardly surprising that the twentieth century is considered to be a milestone in both the rise and fall of efforts to achieve Brazilian national unity. Amongst these efforts, music has played a prominent role, as I shall endeavour to show. (shrink)

Tuning might be the figure best suited to joining this pair of apparently incongruous texts, tuning in the sense defined by David Antin as “a negotiated concord or agreement based on vernacular physical actions with visible outcomes like walking together,” as opposed to understanding, which is predicated, Antin contends, “on a geometrical notion of congruence.”.

Combining ethnographic, semiotic, and performative approaches, this book examines texts and accompanying acts of writing of national commemoration. The commemorative visitor book is viewed as a mobilized stage, a communication medium, where visitors' public performances are presented, and where acts of participation are authored and composed. The study contextualizes the visitor book within the material and ideological environment where it is positioned and where it functions. The semiotics of commemoration are mirrored in the visitor book, which functions as a (...) participatory platform that becomes an extension of the commemorative spaces in the museum. The study addresses tourists' and visitors' texts, i.e. the commemorative entries in the book, which are succinct dialogical utterances. Through these public performances, individuals and groups of visitors align and affiliate with a larger imagined national community. Reading the entries allows a unique perspective on communication practices and processes, and vividly illustrates such concepts as genre, voice, addressivity, indexicality, and the very acts of writing and reading. The book's many entries tell stories of affirming, but also resisting the narrative tenets of Zionist national identity, and they illustrate the politics of gender and ethnicity in Israel society. The book presents many ethnographic observations and interviews, which were done both with the management of the site, and with the visitors themselves. The observations shed light on processes and practices involved in writing and reading, and on how visitors decide on what to write and how they collaborate on drafting their entries. The interviews with the site's management also illuminate the commemoration projects, and how museums and exhibitions are staged and managed. (shrink)

A humanoid robot named ‘Sophia’ has sparked controversy since it has been given citizenship and has done media performances all over the world. The company that made the robot, Hanson Robotics, has touted Sophia as the future of artificial intelligence. Robot scientists and philosophers have been more pessimistic about its capabilities, describing Sophia as a sophisticated puppet or chatbot. Looking behind the rhetoric about Sophia’s citizenship and intelligence and going beyond recent discussions on the moral status or legal personhood (...) of AI robots, we analyse the performativity of Sophia from the perspective of what we call ‘political choreography’: drawing on phenomenological approaches to performance-oriented philosophy of technology. This paper proposes to interpret and discuss the world tour of Sophia as a political choreography that boosts the rise of the social robot market, rather than a statement about robot citizenship or artificial intelligence. We argue that the media performances of the Sophia robot were choreographed to advance specific political interests. We illustrate our philosophical discussion with media material of the Sophia performance, which helps us to explore the mechanisms through which the media spectacle functions hand in hand with advancing the economic interests of technology industries and their governmental promotors. Using a phenomenological approach and attending to the movement of robots, we also criticize the notion of ‘embodied intelligence’ used in the context of social robotics and AI. In this way, we put the discussions about the robot’s rights or citizenship in the context of AI politics and economics. (shrink)

Dioramas are multimedia installations used in museums and popular culture since the 19th century. I study two sets of anthropological dioramas: the ones made for the Museum of Natural History in New York by Franz Boas; and the ones fabricated at the New York State Museum in Albany by Arthur C. Parker. As I will show, dioramas are not only visual dis- plays but also installations with a proper materiality and temporality: they are the stage of multiple performances and (...) work as contact zones between objects, models, makers, and beholders. (shrink)