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)

From the scorched-earth works of action-movie provocateurs Seijun Suzuki and Sam Peckinpah to the cargo cult soundscapes of Pere Ubu and the Czech dissidents ...

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)

Among the central meanings in Büchner's Woyzeck, there is one that comes clear only when we read the play in the context of the history of ideas—specifically in the light of certain currents of thought about human history and eschatology. Aspects of the play's expression are thereby elucidated, that are forcefully brought forward through the organization and compositional procedures of Berg's Wozzeck. Near the end of the long third scene of the opera, Wozzeck appears suddenly at Marie's window and alludes (...) cryptically to the mysterious signs that had come to him in the field the scene before, confiding to her that he is "on the track of something big." As those signs had first been presented through Wozzeck's eyes, they seemed like the imaginings and fears of a simple man about Freemasons and who knows what other objects of superstition, But now in the third scene he gives them a scriptural context, as though through a sudden insight: "Isn't it written, 'And behold, the smoke went up from the land, as the smoke from a furnace'?" What Wozzeck has recalled here is a passage in the Book of Genesis, chapter 19: "Then the Lord rained upon Sodom brimstone and fire from the Lord out of heaven. . . . and, behold, the smoke went up from the Land as the smoke from a furnace." The image is repeated in the New Testament Book of Revelation , chapter 9: "And the fifth angel sounded, and I saw a star fall from heaven unto the earth; and to him was given the key of the bottomless pit; and there arose a smoke out of the pit as the smoke of the great furnace; and the sun and the air were darkened by reason of the smoke of the pit." Both passages are about a holocaust visited by a wrathful God upon a corrupt and debauched people, and that is the idea that begins to form in Wozzeck's mind as he stands for the first time on the stage before his mistress. And he asks, "What will it all come to?" The answer to this thematic question lies in the strange unfolding of the drama, pressed forward by forces that lie, as Büchner had once put it, "Outside of ourselves"1 and by Wozzeck, who guarantees the outcome as he imagines himself becoming aware of what it must be. · 1. Letter to his family, February 1834: "I scorn no one, least of all because of his understanding or his education, for it lies in no one's power not to become a dumbbell or a criminal—because we have all become alike through like circumstances, and because the circumstances lie outside of ourselves . . ." Werner Lehmann, George Büchner: Sämtliche Werke und Briefe , 2:422. Leo Treitler, professor and chairman of the department of music at the State University of New York at Stony Brook, is the author of, among other works, "Dufay the Progressive" and "Homer and Gregory: The Transmission of Epic Poetry and Plainchant.". (shrink)

An imagined retrospective of apocalyptic art.

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.

What accounts for the apocalyptic angst that is now so clearly present among Americans who do not subscribe to any religious orthodoxy? Why do so many popular television shows, films, and music nourish themselves on this very angst? And why do so many artists—from Coldplay to Tori Amos to Tom Wolfe—feel compelled to give it expression? It is tempting to say that America’s fears and anxieties are understandable in the light of 9/11, the ongoing War on Terror, nuclear proliferation, and (...) the seemingly limitless capacity of science to continually challenge our conceptions of the universe and ourselves. Perhaps, too, American culture remains so permeated by Protestant Christianity that even avowed skeptics cannot pry themselves from its grip. In _A Consumer’s Guide to the Apocalypse,_ Eduardo Velásquez argues that these answers are too pat. Velásquez’s astonishing thesis is that when we peer into contemporary artists’ creative depiction of our sensibilities we discover that the antagonisms that fuel the current cultural wars stem from the same source. Enthusiastic religions and dogmatic science, the flourishing of scientific reason and the fascination with mystical darkness, cultural triumphalists and multicultural ideologues are all sustained by the same thing: a willful commitment to the basic tenets of the Enlightenment. Velásquez makes his point with insightful readings of the music of Coldplay, Tori Amos, and Dave Matthews and the fiction of Michael Frayn’s _Copenhagen,_ Chuck Palahniuk’s _Fight Club,_ and Tom Wolfe’s _I Am Charlotte Simmons._ Written with grace and humor, and directed toward the lay reader, _A Consumer’s Guide to the Apocalypse_ is a tour de force of cultural analysis. (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)

This essay argues that in his Breviloquium Bonaventure expands the doctrine of trinitarian appropriation beyond its fixed scholastic frame; that he applies this expanded grammar of appropriation across the text both synchronically and diachronically, or formally in its literary structure and narratively throughout its account of salvation history; and that Bonaventure does so, or at least there are good reasons for so thinking, in response to the Joachite controversy that embattled the Franciscan Order of his time, to whose benefit he (...) composed the Breviloquium.1 This is, then, an essay whose central task it is to investigate how a highly technical idiom of the scholastic mastertext features within Bonaventure's... (shrink)

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

Musical improvisation is a natural case of human pattern formation, and Walton and colleagues investigate the way that different contextual constraints affect patterns of improvisation and their aesthetic quality. The authors find that coordination patterns are more diversified between two musicians when the musical space in which to improvise is relatively more constrained. They also find that listeners experience more diversified, complementary patterns between musicians as more enjoyable and harmonious.

This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.

Nick Zangwill appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut, Bonds, Robinson, Young, Davies and Kania. His ‘manifesto’ paper was recently reprinted in Lamarque and Olsen. This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. What is more, some of his arguments in favour of the obvious seem confused and defective. But as for his really (...) radical thesis that ‘Music, in itself, has nothing to do with emotion’, he provides hardly any justification. What is more, contrary to what Zangwill believes, such justification is not to be found in Hanslick, who in fact sees emotional content as a relatively important element of music. (shrink)

Scholars explore from many fresh angles the interweavings of two of the richest strands of human culture-music and esotericism-with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of music to encompass not (...) only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: • outlines (...) and addresses the problems of defining what we mean by postmodernism • explores when postmodernism begins • engages with a broad range of literature and reference sources, inviting wider reading and thinking • uses specific musical examples to present ways of interpreting music that can be defined as postmodernist. (shrink)

Music may be used to express emotion, to heighten a drama, to emphasize the meaning of a ceremony; but it is nevertheless an abstract art, with no power to represent the world. Representation, as I understand it, is a property that does not belong to music.

For centuries, the dispute over time has concerned mainly its objective and relative character. For the author, besides philosophy and science, the principal point of reference is man, the way he exists in time and space, and the way he observes, senses and organises those domains, as documented in the products of musical activity.

Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.

This book weaves together apparently disconnected elements of Bertrand Russell’s philosophy and social activism into a coherent narrative about the acclaimed twentieth-century intellectual’s evolving stances concerning science and technology and their role in bringing either a future Golden Age or a secular Doomsday.

Musical genius, polemicist, explosive personality-that was the nineteenth-century German composer Richard Wagner, who paid as much attention to his reputation as to his genius. Often maddening, and sometimes called mad, Wagner wrote with the same intensity that characterized his music. The letters and essays collected in Judaism in Music and Other Essays were published during the 1850s and 1860s, the period when he was chiefly occupied with the creation of The Ring of the Nibelung. Highlighting this collection is the notorious (...) 1850 article "Judaism in Music, " which caused such a firestorm that nearly twenty years later Wagner published an unapologetic appendix. Other prose pieces include "On the Performing of Tannhauser, " written while he was in political exile; "On Musical Criticism, " an appeal for a more vital approach to art undivorced from life; and "Music of the Future." This volume concludes with letters to friends about the intent and performance of his great operas; estimations of Liszt, Beethoven, Mozart, Gluck, Berlioz, and others; and suggestions for the reform of opera houses in Vienna, Paris, and Zurich. The Bison Book edition includes the full text of volume 3 of William Ashton Ellis's 1894 translation commissioned by the London Wagner Society. (shrink)

ABSTRACT This paper suggests a much more serious purpose for an education in music-making than play or pleasure or even the training of professional musicians. It presents and explicates a possible connection between musical performance training and the development of practical wisdom. Music in performance constitutes in effect a form of virtuous conduct, where one learns through doing and thereafter comes to love and to be capable of wise practical judgement. Excellence in this field requires the exercise of a species (...) of reasoning and judgement analogous to Aristotelian practical wisdom, and develops the distinctive qualities of character and vision of the practically wise person. (shrink)

Specifically on the raga of Indian classical music.

Although overshadowed by its filmic adaptations (Hideo Nakata, 1998 and Gore Verbinski, 2002), Koji Suzuki’s novel Ring (1991) is at the heart of the international explosion of interest in Japanese horror. This article seeks to explore Suzuki’s overlooked text. Unlike the film versions, the novel is more explicitly focused on the line between self-preservation and self-sacrifice, critiquing the ease with which the former is privileged over the latter. In the novel then, the horror of Sadako’s curse raises questions about the (...) terrors of moral obligation: the lead protagonist (Asakawa) projects the guilt he feels over his self-interested actions, envisaging them as an all-consuming apocalypse. (shrink)

Three experiments investigated the modularity of harmonic expectations that are based on cultural schemata despite the availability of more predictive veridical information. Participants were presented with prime–target chord pairs and made an intonation judgment about each target. Schematic expectation was manipulated by the combination of prime and target, with some transitions being schematically more probable than others. Veridical information in the form of prime–target previews, local transition probabilities, or valid versus invalid previews was also provided. Processing was facilitated when a (...) schematically probable target chord followed the prime. Furthermore, this effect was independent of all manipulations of veridical expectation. A solution to L. B. Meyer's (1967b) query "On Rehearing Music" is suggested, in which schematic knowledge contributes to harmonic expectation in a modular manner regardless of whether any veridical knowledge exists. (shrink)

Spirituality and religion are not synonymous and, in fact, require not only different definitions but also appropriate vocabulary. A deeper discussion of the issues concerning spirituality ensues in several sections: 1) fundamental differences between spirituality and religion; 2) brain operations relative to transcendent states; 3) a definition of consciousness; 4) music, culture, and transcendence; 5) transcendence; 6) transcendence through music, and 7) spirituality in music education. The last section contains several recommendations on how spirituality can be embraced by music educators (...) and included in the curriculum to enhance the worldview of students. (shrink)

It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. This paper aims to refute that formalist claim and present an anti-formalist one showing why thinking formalism true is based on a fallacy and involves a misunderstanding of ordinary language. By ‘idea’ is meant a view, and reflection on that view, which in the limiting case may be a worldview, a Weltanschauung. That in this sense ideas are articulated in music is to (...) say that they are, among other things, presented, conveyed and considered. This goes well beyond the usual anti-formalist claim that music may express emotions. The paper goes on to show how ideas may be articulated in music. This follows from properly understanding how it is that any idea may be articulated. Without music being able to include articulating ideas, the high artistic and cultural value we place upon music, as well as the way people actually talk about music, while being compatible with music having other features that we value, is inexplicable. In this sense the question is raised as to how it is possible to articulate ideas in music. (shrink)