Este artigo analisa o conceito de fetichismo no interior da filosofia da música adorniana, a fim de mostrar como ele visa dar conta de uma ampla crítica aos processos de racionalização do material musical na modernidade ocidental. Para que o teor da crítica seja medido de maneira correta, devemos perceber como, no conceito adorniano de "fetichismo", convergem deliberadamente motivos de suas tradições de crítica ao fetichismo: a marxista e a psicanalítica. Tal estratégia nos permitirá compreender a (...) razão pela qual o conceito de mimesis é resgatado enquanto dispositivo de crítica ao fetichismo. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...) Sbonias. Les différents spécialistes présentent ici leur travail en détail, développant les rapports des deux premières campagnes publiés dans Pharos, le périodique annuel de l'Institut néerlandais d'Athènes. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

En este trabajo se analiza la relación entre los conceptos de fetichismo y lucha de clases en el particular marxismo de Slavoj Žižek. Žižek comprende el fetichismo marxiano a través del psicoanálisis y en el marco de la concepción de Marx de la religión en dos sentidos: como ideología y como fundamento. Esto le permite mostrar que el fetichismo y en general el hecho religioso, no es únicamente «falsa conciencia» sino que también funciona como el elemento constitutivo (...) e insuperable de lo real, lo que, a su vez permite repensar la lucha de clases. (shrink)

Este artículo tiene como objetivo analizar el sentido que tiene el fetichismo dentro de la teoría de Marx y mostrar el potencial de esta dimensión de su teoría para la crítica de las relaciones sociales del sistema capitalista. La especificidad histórica de la sociedad capitalista es que todas las relaciones están atravesadas por la producción y el intercambio de mercancías, y esta mediación material de las relaciones sociales tiene como consecuencia que a las personas se les aparezcan sus relaciones (...) como propiedades de las cosas. Se establece así, a espaldas de los individuos, un poder autónomo al que quedan subordinados. La crítica de Marx está dirigida a esta percepción espontánea de los agentes sociales y a las teorías de la economía política, que se levantan sobre las formas de pensamiento que surgen por sí mismas de estas relaciones sociales cosificadas. (shrink)

Resumo: O pensamento de Walter Benjamin ocupa uma posição particular e, pode-se até dizer, especial na história do pensamento crítico moderno. Sua obra, fragmentada, inacabada, hermética, atual, anacrônica e complexa, possibilita um passeio sobre uma diversidade de temáticas que vão desde a literatura, passando pela sociologia, filosofia, arte, história, entre outras. O objetivo principal deste artigo consiste, assim, em estabelecer mais um olhar em direção a esse pensador. Trata-se, sobretudo, de compreender como as temáticas do fetichismo da mercadoria e (...) da fantasmagoria podem ser vistas em uma de suas principais obras semificcionais (“Infânc[1]ia Berlinense: 1900”). Foram selecionados, para fins deste trabalho, oito excertos. São eles: “O telefone” “Rua de Steglitz, esquina com a rua de Genthin”, “Mercado”, “Krumme Straβe”, “Um fantasma”, “O anãozinho corcunda”, “Blumeshof 12” e “Desgraças e Crimes”. Após a análise dos excertos, pôde-se observar que o conceito de fetichismo da mercadoria, cunhado por Marx no Capital e ampliado por Benjamin como um elemento de interpretação da realidade burguesa alemã da época de sua infância (fantasmagoria), pode ser visualizado na maioria dos excertos escritos pelo autor na obra “Infância Berlinense: 1900”. Palavras-chave: Fetichismo; Fantasmagoria; Infância Berlinense: 1900; Walter Benjamin. Fetishism and Phantasmagoria in the Work “Berliner Childhood: 1900”, by Walter Benjamin Abstract: Walter Benjamin's thought occupies a particular and, one might even say, special position in the history of modern critical thought. His work, fragmented, unfinished, hermetic, current, anachronistic and complex, allows a tour of a diversity of themes ranging from literature, through sociology, philosophy, art, history, among others. The main objective of this article is, therefore, to establish another look towards this thinker. It is, above all, to understand how the themes of commodity fetishism and phantasmagoria can be seen in one of his main semi-fictional works (“Berlin Childhood: 1900”). Eight excerpts were selected for the purposes of this work. They are: “The Telephone”, “Steglitz Street, Corner with Genthin Street”, “Market”, “Krumme Straβe”, “A Ghost”, “The Humpbacked Little Dwarf”, “Blumeshof 12” and “Misfortunes and Crimes”. After analyzing the excerpts, it was possible to observe that the concept of commodity fetishism, coined by Marx in Capital and expanded by Benjamin as an element of interpretation of the German bourgeois reality of his childhood (phantasmagoria), can be visualized in most excerpts written by the author in the work “Berlin Childhood: 1900”. Keywords: Fetishism; Fantasmagoria; Berlin Childhood: 1900; Walter Benjamin. Fetichismo y Fantasmagoría en la Obra “Infancia Berlinesa: 1900”, de Walter Benjamin Resumen: El pensamiento de Walter Benjamin ocupa un lugar particular y, hasta se podría decir, especial en la historia del pensamiento crítico moderno. Su obra, fragmentada, inconclusa, hermética, actual, anacrónica y compleja, permite un recorrido por una diversidad de temáticas que van desde la literatura, pasando por la sociología, la filosofía, el arte, la historia, entre otras. El objetivo principal de este artículo es, por tanto, establecer otra mirada hacia este pensador. Se trata, sobre todo, de entender cómo los temas del fetichismo de la mercancía y la fantasmagoría pueden verse en una de sus principales obras semificcionales ("Infancia berlinesa: 1900"). Se seleccionaron ocho extractos para los propósitos de este trabajo. Ellos son: "El teléfono", "Calle Steglitz, esquina con calle Genthin", "Mercado", "Krumme Straβe", "Un fantasma", "El enanito jorobado", "Blumeshof 12" y "Desgracias y crímenes". Tras el análisis de los extractos, fue posible observar que el concepto de fetichismo de la mercancía, acuñado por Marx en El Capital y ampliado por Benjamin como elemento de interpretación de la realidad burguesa alemana de su infancia (fantasmagoría), puede visualizarse en la mayoría de los extractos escritos del autor en la obra "Infancia berlinesa: 1900". Palabras clave: Fetichismo; Fantasmagoría; Infancia Berlinesa: 1900; Walter Benjamin. Data de registro: 04/03/2022 Data de aceite: 01/12/2022. (shrink)

This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and (...) musicologist and uniquely combines the perspectives of both disciplines. Exploring the philosophical questions of mental representation in the relatively neglected, nonverbal domain of music, this study is a major contribution to the philosophical understanding of music perception and cognitive theory. (shrink)

El presente trabajo se propone reflexionar sobre la relación entre guerra y política. El punto de partida de son algunas indicaciones realizadas por Juan Carlos Marín acerca de la necesidad de producir una crítica del fetichismo de las armas presente en las concepciones militaristas del estatuto de la guerra en el marco del capitalismo que sea paralela a la crítica del fetichismo de la mercancía en Marx. Para pensar este paralelismo se toman los conceptos de “estado-nación” y “ciudadano” (...) como las claves de la construcción de la fuerza armada de la burguesía. La “ciudadanización” como proceso de disciplinamiento de los cuerpos fundamental del capitalismo es explorada a partir de dos autores. Por un lado, se retoma a Louis Althusser, quien afirma que en la lucha de clases lo que se enfrentan no son solo dos clases, sino también dos formas de lucha. Por otra parte, se explora esta tesis a partir de los análisis que Dardo Scavino hace del dispositivo sarmientino de la oposición entre "Civilización y Barbarie" como modelo de constitución de la lucha de clases burguesa y proceso de ciudadanización en la Argentina. Por último, en las conclusiones se exploran los límites de la noción de "ciudadano" en el marco de las políticas neoliberales impuestas por las dictaduras latinoamericanas y el dominio del capital financiero en el ultra-imperialismo. (shrink)

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of (...) salient aspects of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

O objetivo do artigo é fazer uma análise do texto “Sobre o caráter fetichista na música e a regressão da audição”, de Theodor W. Adorno, mostrando como a noção de fetiche permite ao autor delinear a auto-negação da música, tanto pela absorção do valor de uso pelo de troca, quanto pela infantilização do público, momento em que a pseudo-atividade demonstra uma vertiginosa acoplagem entre indivíduo e sociedade.

This essay explores the benefits of utilizing non-scientific examples and analogies in teaching philosophy of science courses. These examples can help resolve two basic difficulties faced by most instructors, especially when teaching lower-level courses: first, they can prompt students to take an active interest in the class material, since the examples will involve aspects of the culture well-known, or at least more interesting, to the students; and second, these familiar, less-threatening examples will lessen the students' collective anxieties and open them (...) up to learning the material more easily. To demonstrate this strategy of constructing and employing non-scientific examples, a lengthy analogy between musical styles and Kuhn's theory of scientific revolutions is developed. (shrink)

Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the key to the universe, and some claimed to have found it. In the unitive vision that resulted, music invariably played an important part.

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, (...) and the implications of the dominance of recorded over live music. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

The author points in this article to the social and political importance of the theory of fetishism and the alienation of Marx when analyzing the social criticism that the development of the hegemonic forces of capitalism on a global scale de served. The post-structuralist and post-marx ist metaphys..

La enajenación y el fetichismo mercantil son dos categorías determinantes de las formaciones sociales antagónicas que permiten explicar la convergencia de los sujetos mediante abstracciones. Así el vínculo social y práctico de los hombres que reviste la forma de una relación inmediata, en el que se destaca la enajenación del pensar del sujeto por él mismo, se desvanece en tanto se consideren las premisas materiales de la historia como producción social. Se propone entonces enfatizar la relación entre enajenación y (...) fetichismo, y además como una diferenciación orgánica de una totalidad articulada de determinaciones, desde la cual se comprende el nexo de la abstracción con la historia, sin perder de vista que la producción social es el fundamento de la relación social. (shrink)

Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.

Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this (...) problem and show that it cannot be plausibly solved by a musical perdurantist. (shrink)

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to us as (...) contemporary music creators and consumers. (shrink)

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which (...) class='Hi'>musical works are concrete objects. In particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (shrink)

The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also (...) to the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. (shrink)

The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.

The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of music ought to proceed: (...) we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and (...) issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also suggested (...) that “Music therapy can have effects that improve the psychological and physiological health of individuals,” so it seems plausible that engaging in practices of music can positively contribute to one living a more optimally flourishing life with greater psychological well-being. However, recent studies on music practice and participation have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on psychological well-being and music to offer support for the claim that music practice and participation can positively contribute to one living a flourishing life by positively influencing their emotions, engagement, relationships, meaning, and accomplishment. (shrink)