In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that had been sold (...) as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art. (shrink)

To a greater extent than in other technical domains, research and progress in Artificial Intelligence has always been entwined with the fictional. Its language echoes strongly with other forms of cultural narratives, such as fairytales, myth and religion. In this essay we present varied examples that illustrate how these analogies have guided not only readings of the AI enterprise by commentators outside the community but also inspired AI researchers themselves. Owing to their influence, we pay particular attention to the similarities (...) between religious language and the way in which the potential advent of greater than human intelligence is presented contemporarily. We then move on to the role that fiction, science fiction most of all, has historically played and is still playing in the discussion of AI by influencing researchers and the public, shifting the weights of different scenarios in our collectively perceived probability space. We sum up by arguing that the lore surrounding AI research, ancient and modern, points to the ancestral and shared human motivations that drive researchers in their pursuit and fascinate humanity at large. These points of narrative entanglement where AI meets the wider culture should serve to amplify the call to engage ourselves with the discussion of the potential destination of this technology. (shrink)

Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and ReligionRichard Shusterman (bio)IArt emerged in ancient times from myth, magic, and religion, and it has long sustained its compelling power through its sacred aura. Like cultic objects of worship, artworks weave an entrancing spell over us. Though contrasted to ordinary real things, their vivid experiential power provides a heightened sense of the real and suggests deeper realities than those conveyed by common sense and science. While (...) Hegel saw religion as superseding art in the evolution of Spirit toward higher forms that culminate in philosophical knowledge, subsequent artists of the nineteenth century instead saw art as superseding religion and even philosophy as the culmination of contemporary man's spiritual quest. Artistic minds as different as Matthew Arnold, Oscar Wilde, and Stephan Mallarmé predicted that art would supplant traditional religion as the locus of the holy, of uplifting mystery and consoling meaning in our increasingly secular society dominated by what Wilde condemned as a dreary "worship of facts."1 By expressing "the mysterious sense... of existence, [art] endows our sojourn with authenticity and constitutes the sole spiritual task," claims Mallarmé.2 "More and more," writes Arnold, "mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry."3Such prophecies have largely been realized. In twentieth-century Western culture, artworks have become the closest thing we have to sacred texts, and art almost seems a form of religion with its prophetic breed of creative artists perennially purveying new gospels and its priestly class of interpretive [End Page 1] critics who explain them to a devotional public. Despite wide recognition that art has an important commercial aspect, art sustains its cultural image as an essentially sanctified domain of higher spiritual values, beyond the realm of material life and praxis. Its adored relics (however profane they strive to be) are sacredly enshrined in temple-like museums that we dutifully visit for spiritual edification, just as religious devotees have long frequented churches, mosques, synagogues, and other shrines of worship.In advocating a pragmatist aesthetics I have criticized this otherworldly religion of art because of the way it has been shaped by more than two centuries of modern philosophical ideology aimed at disempowering art by consigning it to an unreal, purposeless world of imagination. Such religion, I have argued, is the enemy of pragmatism's quest to integrate art and life, a quest exemplified both in the classical Western notion of the art of living and some Asian artistic traditions, where art is less importantly the creation of objects than the process of refining the artist who creates and the audience who absorbs that creative expression.4There is good reason, however, why this sacralization of art should remain so powerfully appealing despite the widespread recognition of art's mercantile dimensions and worldly concerns. The reason, I believe, is that art expresses very deep meanings and spiritual insights that religion and philosophy once most powerfully provided but that they now no longer convey in a convincing way to most of today's secular populations throughout the world. So, in this essay I would like to reconsider the art and religion nexus from a different angle. I wish to explore the idea that art provides a useful, even superior, substitute for religion, one that is free from the latter's many disadvantages and that should be vigorously championed as an alternative that could eventually free our transcultural world from the hostile divisiveness and backward-looking attitudes that religions have inspired and instead lead us toward greater understanding, peace, and harmony.But a contrary yet equally interesting hypothesis likewise demands consideration: that art cannot be separated from religion, that rather than a real alternative, art is simply another mode or expression of religion. Or, to put it in a provocatively suggestive paraphrase, art is simply the continuation of religion by other means. If this hypothesis has merit—indeed, even if there is simply some deeply indissoluble link between art and religion—then we cannot simply look progressively past religion... (shrink)

Acclaimed cultural critic Curtis White examines current fissures in Western Buddhism and argues against the growth of scientific and corporate dharma, particularly in Stephen Batchelor's Secular Buddhist movement. In Transcendent, celebrated cultural critic Curtis White, asks what Buddhism will look like in the future. Do we want a secular Buddhism that looks like corporations and neuroscience? Or do we want a Buddhism that still provides refuge from the debased world of money and things? Transcendence is not about magic realms (...) where spirits fly about; the world is, as Shunryu Suzuki put it, its own magic. We only need to reclaim it and reclaim our humanity while we’re at it. The problem White suggests is a culture that recognizes only "things," capitalist things and science things, and aggressively denies the idea that the world of things has a beyond. We're told by science ideologues like the New Atheists that we live in a secular age and that philosophy is dead, and art is only an amusement, and transcendence is not wanted because science can provide all the wonder and beauty we need. Transcendent is a call for the re-enchantment not only of Buddhism but also of our Western art traditions. White recalls the risks and the raptures of the English Romantics, Beat poets, and the children of the counterculture, all in the name of a living world, and in defiance of our current world of climate catastrophe, contagious disease, and social collapse. (shrink)

Over the past two decades, William Kentridge has consolidated a worldwide reputation as an artist of great verve and scope. He is arguably most widely known for his series of 10 animated films drawn over a period of 22 years, and set in his home city of Johannesburg. Originally conceived as a distraction, something to fill the gaps between exhibitions, the films have magnificently exceeded their brief, establishing instead one of the great characters in contemporary fiction: Soho EcksteinHighveld mining magnate, (...) and Kentridge s alter ego. The timeline of the films covers South Africa s transition from apartheid to democracy. The specific events and crises comprising the country s political transformation form the backdrop to the story unfolding across the screen, but the films are not "about" political events. Instead the saga traces a different and parallel arcSoho s gradual awakening from capitalist blockhead and cuckold to sober penitent, coming to terms with his own frailties and the first signs of mortalityand it is this human quality that gives the films their power and enduring appeal. Matthew Kentridge has witnessed, from first beginnings, the evolution of William Kentridge s technique, themes and ideas. From his unique and privileged vantage point, he has watched the transformation of Soho from individualistic South African megalomaniac into a kind of late-twentieth-century Everyman. This book is his response. This volume also incorporates an element of augmented reality, which readers can explore using their smartphones or tablets, making the book an even more enriching experience.". (shrink)

Manuel Mertens guides the reader through Bruno’s mnemonic palaces, and shows how these fascinating intellectual constructions of the famous heretic philosopher can be called magical.

Communication: Man's Primordial Need ORGANIC LIFE IN THE EARTH'S biosphere requires organisms to relate to other organisms. Human beings are particularly ...

John Case , the most important English Aristotelian of the Renaissance period, has not yet received the attention he deserves. In his Lapis philosophicus , an exposition of Aristotle's Physics, is found a discussion of the relation of nature to art which parallels in many ways that formulated a few years later in the writings of Francis Bacon. Case argues, in a way more reminiscent of the works of Giambattista della Porta than of those of Aristotle, that the natural philosopher (...) can legitimately apply the productive arts in helping nature to fulfill her function. Moreover, while rejecting the excessive claims of the Paracelsians, Case does accept the transmutational claims of the alchemists. In the final analysis, his ‘Aristotelianism’ has been tempered by the tradition of Renaissance natural magic. Like many other Peripatetic thinkers of the period, Case shows himself to be an eclectic, drawing materials from a wide variety of sources and open to many of the new scientific tendencies then developing. (shrink)

During research for my artistic project involving human fat/oil I discovered a wide range of historic reference of its use. The extraction and use of human oil has not only been present in myths and magical rituals but also practically used for medicinal healing and skincare. Allegedly hunted down by Peruvian Pishtacos, who then sold it to the cosmetic industry, it was also extracted for use in pain relief or healing of adherent scars, as well as an ingredient for use (...) in black magic. Human oil was sought as a lucrative product for centuries until early 1900. The proposal of my project HUMANOIL is a follow-up from my previous work where biofuel was made from my own fat. HUMANOIL will involve rendering human oil, the last oil produced, from my body, sought to offer anointing, white magic or pure skincare – your choice. (shrink)

This paper discusses the relation between letters and numbers in the case of ancient Greek and, other writing systems and, supports that priority must be given to the numbers, that is to say the use of letters of the alphabet was constrained, by the necessities of mathematics. In the case of Ancient Greece the ‘24 letters of the alphabet’ plus ‘3 additional signs’ were used to notate the numbers. These 27 signs formed the three enneads of the Greek Numeral System, (...) which was in use in Eastern Mediterranean and parts of Europe for almost 2,000 years. So, the 24 letter-signs were also digit-signs. The arithmetic use of letters is considered by epigraphologists and Hellenists a later development, occurring two or three centuries after the invention of the Greek alphabet. This paper supports that, from the very beginning, the alphabet should, have had, 27 signs in order to meet the needs of mathematics, that is to meet the necessity of using the enneads of the Egyptian numeral system, which probably was transferred, to Greeks via the Semitic writing system. This hypothesis is based, on the contradictions which arise between the choice of signs and their use, from ancient Greek ‘Logistikē’, from archaeological finds and from the examples of other writing systems, which were also created so as to serve the needs of mathematics — namely Hebrew, Arabic, Coptic, Armenian, Georgian, and, other alphabets. Consequently, the alphabet should, not be considered, as a secondary system of signs, which was created, in order to record, the spoken word, but as a subset of a broader semiotic system that attempts to express human Reason in general. (shrink)

Many areas of contemporary art and culture in the United States and Europe can be shown to have a direct lineage to the rich history of the Western Mystery Traditions, rooted in ancient esoteric and magical philosophies of Greece and Egypt. Video mash-ups and audio sampling have inherited the cut-up methods of Beat poets and artists, who in turn were influenced by the Surrealists and their contemporaries. Early twentieth-century artists such as Austin O. Spare drew upon magickal practices derived directly (...) from renaissance practitioners such as John Dee’s use of The Key of Solomon and Giordano Bruno’s Art of Memory. Methods of employing graphical imagery for the purpose of accessing insight or influence from alternate realms continue to draw upon Gnostic and Hermetic philosophies of ancient Greece and Egyptian antiquity. We can easily see the persistent influence of these ancient beliefs and practices in the contemporary use of logos and symbols of popular culture as well as in contemporary art and music. (shrink)

This book provides a new understanding of art education, connecting art, necessity, and pedagogy. Plenty has been written about art education, but its potential contribution to inner autonomy and existential emancipation due to the re-articulation of time and space in art has not been adequately explored in a pedagogic context. This book explores art as an affective continuum--not a plaything of culture, but rather a mode of alignment of the existential Eros with our ontological truth.

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions (...) through the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

Leddington (2016) remains the leading contemporary philosophical account of magic, one that has been relatively unchallenged. In this discussion piece, I have three aims; namely, to (i) criticise Leddington’s attempt to explain the experience of magic in terms of belief-discordant alief; (ii) explore the possibility that much, if not all, of the experience of magic can be explained by mundane belief-discordant perception; and (iii) argue that make-believe is crucial to successful performances of magic in ways Leddington (...) at best overlooks and at worst denies. (shrink)

The paper concerns a form of experiencing time which is specific for haiku poetry. Haiku is an expression of the momentary glimpse of time. Haiku poetry treats the moment uninstrumentally, neither as a result of the past nor as a transition to future deeds. Seen this way, the moment arises on the stream of time as a unique, existential experience. It is my attempt to explain the phenomenon of this experience of “now” as I explore the metaphors of “background”, “figure” (...) and “composition”. (shrink)

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, _Logic and the Art of Memory_ Italian philosopher and historian Paolo Rossi argues that this view is belied by an examination (...) of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, _Logic and the Art of Memory_ documents an essential chapter in the development of human reason. (shrink)

In the current American iconoclash, certain monuments are subject to vandalism and municipal removal from their pedestals. Phrases such as “the erasure of history” and “damnatio memoriae” point to concerns that iconoclasm is an attempt to censor history or even remove certain individuals from public memory altogether. Because these phrases beckon the past, this wave of iconoclasm calls for a close examination of previous image-breaking to establish motives. Drawing first from art history, we analyze Byzantine iconoclasm and anxieties over the (...) nature of icons’ power, before contextualizing these findings within image destruction from the Paleolithic to the present day. Each comparison is suggestive of an enduring aesthetic principle: that what appears inanimate is not always inert. Next, drawing from cultural anthropology, we argue that principles of sympathetic magic are at the heart of contemporary iconoclasms, but not in the way media outlets often suggest. Instead, the fear of history’s erasure betrays a deeply rooted equivalence between the representation and the represented. In perceiving their fates as shared, sympathetic magic is seen to persist in the way humans create, interpret, and desecrate images. We conclude with the speculative realist proposition that iconoclasm can produce new, original artworks, which carries implications for the autonomy of art and its distribution between artist and artwork. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Global interests in bioethics have increased drastically since the end of 20th century. The reason for this should be ascribed to a broad application of molecular-genetic methods introduced in human bio-medicine. This has, in turn, produced an involvement and development of numerous inter-disciplines, which have started to apply bioethics as a part of their own subject of interest. This article presents more than a decade of experience of teaching bioethics in our country, particularly under the auspices of the National Com?mittee (...) for Bioethics of UNESCO-commission of Serbia. Globalni interes za bioetiku drasticno se povecao krajem dvadesetog stoleca, sto treba pripisati sirokoj primeni molekularno-genetickih metoda uvedenih u oblasti humane biomedicine. Ovo je dovelo do prikljucenja i razvitka brojnih interdisciplinarnih oblasti koje su bioetiku prihvatile kao deo svog opsega interesa. U ovom se clanku iznosi iskustvo dugo preko deset godina o primeni edukacije bioetike u nasoj zemlji, posebno u organizaciji i pod okriljem Nacionalnog komiteta za bioetiku UNESCO-ve komisije R. Srbije. (shrink)

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, Logic and the Art of Memory Italian philosopher and historian Paolo Rossi argues that this view is belied by an examination (...) of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book (originally titled Clavis Universalis ) remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, Logic and the Art of Memory documents an essential chapter in the development of human reason. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)