Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens (...) up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

Max Weber famously wrote that world images determine the tracks along which societies move. This article examines the relation between world images and the so-called tracks of society, which in this metaphor resemble the current concept of institution. This concept is now associated with the ‘new institutionalisms’ in social science and has no connection to the civilizational level of analysis that Weber used. This article reexamines Weber’s usage of the terms and employs the terms to analyze differences in the principles (...) of legitimacy between those emerging in the West and those in China, differences that Weber himself did not recognize. (shrink)

P. Cheyne, A. Hamilton, M. Paddison, The Philosophy of Rhythm : Aesthetics, Music, Poetics, New York, Oxford University Press, 2019 – ISBN 978-0-19-934778-0 This review has already been published in Horizon. Studies in Phenomenology 10, 2021 : II, pp 312-319.: The review provides an outline of the collective monograph The Philosophy of Rhythm : Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, - Recensions.

Dialectic of Enlightenment is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism." Yet the work goes far beyond a mere critique of (...) contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present. The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization. Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book. This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory. (shrink)

Ein berühmter, immer wieder zitierter Satz von Max lautet: "Interessen (materielle und ideelle), nicht: Ideen, beherrschen unmittelbar das Handeln der Menschen. Aber: die 'Weltbilder', welche durch 'Ideen' geschaffen wurden, haben sehr oft als Weichensteller die Bahnen bestimmt, in denen die Dynamik der Interessen das Handeln fortbewegte." Die neuere Soziologie ist diesem Grundsatz allerdings nicht gerecht geworden. Werte und ihre Wirkung werden entweder als gegeben vorausgesetzt (so bei Talcott Parsons) oder überhaupt als irrelevant betrachtet (so in der Rational Choice- und Systemtheorie). (...) Die umfangreiche, empirische Werteforschung hat vielfältige Ergebnisse erbracht, blieb jedoch weitgehend ohne theoretisches Fundament, sodass ihre Befunde vielfach anfechtbar sind. Weber selbst gab im Hinblick auf die Frage nach der Relevanz der Werte nur unbefriedigende Antworten: Die Entscheidung für bestimmte Werte sei eine rein individuelle Angelegenheit und zwischen den verschiedenen Werten gebe es einen unversöhnlichen Kampf. Im vorliegenden Buch wird diese Problematik erstmals in der deutschen Soziologie umfassend untersucht und es wird dafür (u.a. im Anschluss an Autoren wie Immanuel Kant, George H. Mead und Raymond Boudon), eine neue, konstruktive und erklärungsstarke Lösung gefunden. Unter Zuhilfenahme von Überlegungen aus Philosophie, Sozialtheorie und empirischer Sozialforschung sowie unter Einbeziehung historischer Kämpfe zur Anerkennung und Durchsetzung der Werte kann man feststellen, dass es gesellschaftliche Grundwerte gibt, dass deren Anzahl klar bestimmbar ist und dass zwischen ihnen keineswegs Konflikt, sondern Komplementarität besteht. Mit diesen Thesen und Befunden kann dieses Buch als neues soziologisches Standardwerk angesehen werden. Es hat auch für Vertreter vieler anderer geistes- und sozialwissenschaftlicher Disziplinen grundlegende Bedeutung. Der Autor Dr. Max Haller war nach wissenschaftlichen Tätigkeiten am Institut für Höhere Studien in Wien und an der Universität bzw. ZUMA Mannheim 1985-2015 Professor für Soziologie in Graz. Er lehrte als Gastprofessor auch an Universitäten in mehreren Ländern Europas, den USA und Afrika. Seine Publikationen erschienen in den renommiertesten internationalen soziologischen Zeitschriften. Er ist Mitglied der Österreichischen Akademie der Wissenschaften und forscht dort jetzt zu Fragen der Migration, Staatsbürgerschaft und Mehrsprachigkeit. Er war Mitbegründer der Europäischen Gesellschaft für Soziologie und der Wiener Gesellschaft für Soziologie. (shrink)

India has a long, rich, and diverse tradition of philosophical thought, spanning some two and a half millenia and encompassing several major religious traditions. Now, in this intriguing introduction to Indian philosophy, the diversity of Indian thought is emphasized. It is structured around six schools of thought that have received classic status. Sue Hamilton explores how the traditions have attempted to understand the nature of reality in terms of inner or spiritual quest and introduces distinctively Indian concepts, such as (...) karma and rebirth. She also explains how Indian thinkers have understood issues of reality and knowledge-issues that re also an important part of the Western philosophical tradition. (shrink)

La philosophie des sciences de l'empirisme logique avait discredite la causalite comme etant un concept du sens commun irremediablement vague et confus, pour lui substituer le concept d'explication scientifique. Cependant, dans nombre de theories contemporaines, notamment en philosophie de l'esprit et du langage, le concept de causalite continue a jouer un role de premier plan. Ce livre montre qu'il est possible de concevoir la causalite d'une maniere compatible avec des connaissances scientifiques contemporaines. La relation causale fondamentale a lieu entre evenements (...) en fonction de la transmission d'une quantite determinee d'une grandeur conservee; mais ce qui rend vraie une explication causale, ce n'est pas seulement une relation causale entre deux evenements, mais une relation de responsabilite causale. Le concept de loi de la nature qui intervient dans cette analyse s'avere fructueux non seulement dans le cadre de la causalite, mais aussi pour l'eclairage qu'il permet d'apporter a la philosophie des sciences. (shrink)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that (...) it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes: Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model… …What the composer's inspiration necessarily loses through notation, his interpreter should restore (...) by his own…. (shrink)

A complete translation of Aristotle's classic that is both faithful and readable, along with an introduction that provides the modern reader with a means of understanding this seminal work and its impact on our culture. In this volume, Joe Sachs (translator of Aristotle's _Physics, Metaphysics,_ and the _Nicomachean Ethics _)also supplements his excellent translation with well-chosen notes and glossary of important terms. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a (...) glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Aristotle’s immediate audience. (shrink)

Book reviewed in this article: Roger Scruton, The Aesthetics of Music.

Written across the disciplines of art history, literature, philosophy, sociology, and theology, the ten essays comprising the collection all insist on multidimensional definitions of evil. Taking its title from a moment in Shakespeare's Tempest when Prospero acknowledges his responsibility for Caliban, this collection explores the necessarily ambivalent relationship between humanity and evil. To what extent are a given society's definitions of evil self-serving? Which figures are marginalized in the process of identifying evil? How is humanity itself implicated in the production (...) of evil? Is evil itself something fundamentally human? These questions, indicative of the kinds of issues raised in this collection, seem all the more pressing in light of recent world events. The ten essays were originally presented at the First Global Conference on Perspectives on Evil and Human Wickedness, held in March 2000 in Lady Margaret Hall, Oxford University. (shrink)

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly (...) autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly (...) autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)

In this important new study, Hamilton establishes and develops innovative links between the sites of postcolonial literary theory, the fiction of the South African/Australian academic and Nobel Prize-winning writer J.M. Coetzee, and the work of the French poststructuralist philosopher Gilles Deleuze. Centering on the key postcolonial problematic of representation, Hamilton argues that if one approaches the colonial subject through Gilles Deleuze’s rewriting of subjectivity, then a transcendent configuration of the colonial subject is revealed. Importantly, it is this rendition (...) of the colonial subject that accounts best for the way in which the colonial subject is able to propose and offer instances of resistance to colonial structures of subjectification. In elucidating this claim, the study turns to the fiction of Coetzee. Offering unique Deleuzean readings of three of Coetzee’s most theoretically beguiling novels – Dusklands, Waiting for the Barbarians, and Foe – On Representation will prove to be essential reading to those interested in Coetzee studies, the literary terrain of Deleuze’s philosophy, and those engaging with contemporary debates in postcolonial literature and theory. (shrink)

Originally published in 1973, this book shows that methods developed for the semantics of systems of formal logic can be successfully applied to problems about the semantics of natural languages; and, moreover, that such methods can take account of features of natural language which have often been thought incapable of formal treatment, such as vagueness, context dependence and metaphorical meaning. Parts 1 and 2 set out a class of formal languages and their semantics. Parts 3 and 4 show that these (...) formal languages are rich enought to be used in the precise description of natural languages. Appendices describe some of the concepts discussed in the text. (shrink)

Means and ends -- Conflicting panaceas -- The revolt of nature -- Rise and decline of the individual -- On the concept of philosophy.

Writing from a scientifically and philosophically informed perspective, the authors provide a critical overview of the conceptual difficulties encountered in many current neuroscientific and psychological theories.

In the early 1990s, managers at Exxon decided to seek lower cost disposal in Louisiana for oil-field wastes declared hazardous in Alabama. This decision resulted in injuries to the residents of Grand Bois, Louisiana; the disposal company; Exxon; and the oil industry in the state. Given the need for business and society to manage business operations for mutual benefit, it is essential to understand why businesses injure the public so that similar incidents do not happen again. The authors use three (...) analytical perspectives to suggest how corporations may make unethical decisions without purposefully setting out to do so: their managers may fail to understand changing social expectations for corporate behavior; they may adopt organizational structures, policies, and procedures that block ethical action in the name of efficiency; and they may follow unwritten rules of behavior for career success that exclude ethics. These perspectives suggest that individual Exxon managers may not have been making greed-based decisions, weighing corporate gains against harms to others. The situation more likely involved a failure, for the reasons discussed, to raise ethics questions in making business decisions. This explanation does not make much difference to those injured nor does it absolve those who made the decisions. It does make a difference to society and to companies seeking to understand factors that have to be overcome in any large corporation that wishes to prevent such events from occurring. (shrink)

Author Max Black argues that language should conform to the discovered regularities of experience it is radically mistaken to assume that the conception of language is a mirror of reality.

Author Max Black argues that language should conform to the discovered regularities of experience it is radically mistaken to assume that the conception of language is a mirror of reality.

Hippel, author of Die Lebensläufe nach aufsteigender Linie (1778-1781), has been widely recognized as one of the best German authors to write in the manner of Laurence Sterne. This study places Hippel in the context of the theory of the novel and historiography in the eighteenth century. It re-examines the relationship between Hippel and Sterne (as well as Diderot), with emphasis on the contrast in the authors' use of narrators and documents. Hippel's indebtedness to Kant is well known, but here (...) his borrowing from Kant's lecture notes is discussed in detail and its relevance to Hippel's theory of the novel shown. (shrink)

The book "Philosophical Foundations of Neuroscience" is an engaging criticism of cognitive neuroscience from the perspective of a Wittgensteinian philosophy of ordinary language. The authors' main claim is that assertions like "the brain sees" and "the left hemisphere thinks" are integral to cognitive neuroscience but that they are meaningless because they commit the mereological fallacy—ascribing to parts of humans, properties that make sense to predicate only of whole humans. The authors claim that this fallacy is at the heart of Cartesian (...) dualism, implying that current cognitive neuroscientists are Cartesian dualists. Against this claim, we argue that the fallacy cannot be committed within Cartesian dualism either, for this doctrine does not allow for an intelligible way of asserting that a soul is part of a human being. Also, the authors' Aristotelian essentialistic outlook is at odds with their Wittgensteinian stance, and we were unconvinced by their case against explanatory reductionism. Finally, although their Wittgensteinian stance is congenial with radical behaviorism, their separation between philosophy and science seems less so because it is based on a view of philosophy as a priori. The authors' emphasis on the a priori, however, does not necessarily commit them to rationalism if it is restricted to conceptual or analytical truths. (shrink)

Reductionist forms of moral realism, such as naturalist realism, are often thought immune to epistemological objections that have been raised against nonnaturalist realism in the form of reliability worries or evolutionary debunking arguments. This article establishes that reductionist realist views can only explain the reliability of our moral beliefs at the cost of incurring repugnant first-order conclusions.

Preface to paperback edition -- Why Schelling? why naturephilosophy? -- The powers due to becoming: the reemergence of platonic physics in the genetic philosophy -- Antiphysics and neo-Fichteanism -- The natural history of the unthinged -- "What thinks in me is what is outside me". phenomenality, physics and the idea -- Dynamic philosophy, transcendental physics -- Conclusion: transcendental geology.

When confronted with an ethical dilemma, most of us like to think we would stand up for our principles. But we are not as ethical as we think we are. In Blind Spots, leading business ethicists Max Bazerman and Ann Tenbrunsel examine the ways we overestimate our ability to do what is right and how we act unethically without meaning to. From the collapse of Enron and corruption in the tobacco industry, to sales of the defective Ford Pinto, the downfall (...) of Bernard Madoff, and the Challenger space shuttle disaster, the authors investigate the nature of ethical failures in the business world and beyond, and illustrate how we can become more ethical, bridging the gap between who we are and who we want to be. Explaining why traditional approaches to ethics don't work, the book considers how blind spots like ethical fading--the removal of ethics from the decision--making process--have led to tragedies and scandals such as the Challenger space shuttle disaster, steroid use in Major League Baseball, the crash in the financial markets, and the energy crisis. The authors demonstrate how ethical standards shift, how we neglect to notice and act on the unethical behavior of others, and how compliance initiatives can actually promote unethical behavior. They argue that scandals will continue to emerge unless such approaches take into account the psychology of individuals faced with ethical dilemmas. Distinguishing our "should self" from our "want self", the authors point out ethical sinkholes that create questionable actions. Suggesting innovative individual and group tactics for improving human judgment, Blind Spots shows us how to secure a place for ethics in our workplaces, institutions, and daily lives. (shrink)

This text gives examples of how a different kind of human experience may be explored, and how the methods used for investigating phenomena may contribute to the process of human understanding.