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)

The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the (...) development of the phonograph in particular), and the critical role played by early-century opera recording. A principal focus of the book is the conflicted relationship in Western modernity to nature, particularly as nature is perceived in opposition to culture and articulated through music, film, and sound as agents of fundamental, sometimes shocking transformation. The book considers the sound/vision world of modernity filtered through the lens of aesthetic modernism and rapid technological change, and the impact of both, experienced with the prescient sense that there could be no turning back"--Provided by publisher. (shrink)

Introduction -- Navigating the neosurreal : background and premises -- Neosurrealist tendencies in recent films -- Neosurrealist metamusicals, flow and camp aesthetics -- In tandem with the random : loose synchronisation and remediation in Philip Glass's -- La Belle et la Bête and The dark side of Oz -- The surrealism of the virtual band in the digital age : Gorillaz' "Clint Eastwood" and "Feel good inc." -- Back to the garden? Performing the disaffected acoustic imaginary in the digital (...) age -- Concluding thoughts : all that is solid melts into air? (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)

An archeology of auditory surveillance combined with an analysis of representations of spying in works of literature, music, and film that provide philosophical reflections on the drives that animate listening: the drive for mastery and the death drive.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists (...) considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

Im Kontext eines umfassenden Rearrangements diskursiver Strukturen um 1800 werden auch Veranderungen innerhalb der Musik wirksam, die als grundlegende mediale Neudisposition verstanden werden konnen. Dabei sind diese Modifikationen in ein Netzwerk von Bestimmungsleistungen unterschiedlicher Provenienz eingebunden, das sich alsbald zu einem regelrechten 'Sinnprojekt' verdichtet. Dessen nahere Konturierung sowie seine vielfaltigen Postfigurationen und intermedialen Spielarten innerhalb unserer Gegenwartskultur stehen im Mittelpunkt dieser Untersuchung. Hier werden zugleich Strategien der asthetischen Gestaltung und theoretischen Reflexion mit in den Blick genommen, die sich jeweils auf (...) ihre eigene Weise mit diesem 'Sinnprojekt' auseinandersetzen. Im Rahmen dieser musik-, kultur- und medienwissenschaftlichen Betrachtungen kommen insbesondere folgende Phanomene zur Sprache: die mediale Disposition von 'Tonkunst' um 1800 - 'Klassik' und 'classic' - die Asthetik digitaler Klange - Marvin Minskys 'Geistesgesellschaft' - 'Brain Opera' - filmasthetische Konzeptionen bei Cameron und Lynch - Sound Libraries und Sound Tracks. (shrink)

Einleitung -- Opernmusik -- Theaterwissenschaft -- Schauspielmusik -- Filmmusik -- Funktionssystem für Musik in der Oper -- Analysen im Lichte der Funktionen.

Clásicos y modernos -- Convenciones y mixturas -- Cine independiente -- El nuevo canon -- Cine latinoamericano -- Cine ecuatoriano -- Temas.

This book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music's development may be transformed by insights into the nature of modernity provided by other historical disciplines.

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is (...) not said in order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is an (...) opera, and Pablo Picasso turned his cubist paintings into costumes for Parade. Focusing on collaborations with a musical component, Albright views these works as either figures of dissonance that try to retain the distinctness of their various media (e.g. Guillaume Apollinaire's Les Mamelles de Tiresias ) or figures of consonance that try to lose themselves in some total effect (e.g. Arnold Schoenberg's Erwartung ). In so doing he offers a fresh picture of Modernism, and provides a compelling model for the analysis of all artistic collaborations. Untwisting the Serpent is the recipient of the 2001 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship of the Center for Humanities Research at Texas A&M University. (shrink)

This study develops a theory about the interaction between music cognition and affective response. The theory demonstrates how musical thinking, knowledge, and decision-making result in qualitative musical behaviour. It reports new findings about the cognitive representation of musical structures, imagery as an auditory-phenomenological descriptor of music, aesthetic response as an outcome of specific cognitive decisions, and the value of music in cross-cultural human development. Each of the seven essays identifies a problem in music psychology that is (...) relevant to an explanation of the musical process, reviews the literature relevant to that problem, and, through systematic philosophical analysis, offers a solution. This book should be of interest to music philosophers, and psychologists working in the areas of cognition, aesthetics, music theory, music education, and music therapy. (shrink)

Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, (...) metaphysics, truth, and ethics, and he suggests that music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways. His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy. (shrink)

Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.

Auth: University College London, Distributed by Viking.

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging (...) array of artistic creations from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

This volume considers the numerous philosophical ideas and arguments found in and inspired by the critically acclaimed series Breaking Bad. This show garnered both critical and popular attention for its portrayal of a cancer-stricken, middle-aged, middle-class, high school chemistry teacher’s drift into the dark world of selling methamphetamine to support his family. Its characters, situations, and aesthetic raise serious and familiar philosophical issues, especially related to ethics and morality. The show provokes a bevy of rich questions and discussion points, such (...) as: What are the ethical issues surrounding drugs? What lessons about existentialism and fatalism does the show present? How does the show grapple with the concept of the end ‘justifying’ the means? Is Walt really free not to ‘break bad’? Can he be redeemed? What is the definition and nature of badness itself? Contributors address these and other questions as they dissect the legacy of the show and discuss its contributions to philosophical conversations. (shrink)

Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The (...) immanent critique ; The paradox of Mahler's vernacular ; The curve of inconsistency -- Interlude: Wittgenstein's silence -- Jankelevitch's inconsistency. Bergson and the inconsistency of time ; The aporetic source of fidelity ; Charm ; Cosmic silence ; Unwoven dialectics -- Deleuze and Guattari's rhythm. Deleuze's rhythm ; The rhythm of sense ; A structuralist quadrivium ; The rhythm of life ; Sonorous co-extensions -- Conclusion: a paradox of the vernacular. (shrink)

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that (...) country authenticity gets at anything real; widespread ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and (...) spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...) He also explores the social and political issues about musical listening, which tend to be addressed more in continental traditions. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this volume, Zangwill develops a view of the nature of music and our experience of music that foregrounds the aesthetic properties of music. He focuses on metaphysical issues about aesthetic properties of music, psychological issues about the nature of musical experience, and philosophy of language issues about the metaphorical nature of aesthetic descriptions of music. Among the innovations of this book, Zangwill addresses the limits of literal description, generally, and in the aesthetic case. (...) He also explores the social and political issues about musical listening, which tend to be addressed more in continental traditions. (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, (...) Davies, and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)

Mimetic comprehension -- Mimetic comprehension of music -- Metaphor and related means of reasoning -- Pitch height -- Temporal motion and musical motion -- Perspectives on musical motion -- Music and the external senses -- Musical affect -- Applications -- Review and implications.

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in (...) optical illusions of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of (...) an accomplished listener, the performer, the music analyst, and the composer. (shrink)

This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period (...) is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day. (shrink)

Dynamically transforming the elements of any performing artist’s craft, this practical guide is a must-have for musicians, dancers, and actors. The handbook shows how artistic performance is embodied in the unification of three critical elements—motion, emotion, and love—demonstrating how it offers experiences and opportunities distinct from the nonperforming arts. Step-by-step guidelines are provided for building intentional and inspirational practice time, thereby enhancing the relationships between the source, the performer, and the audience. Illustrating how intentional movement invokes emotions from both (...) the performer and the audience and how the concept of love gives a performance humanity and life, this eye-opening exploration creates pathways for achieving true artistry. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, (...) fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding (...) the viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

A musical experience is marked by the synthesis of passion and rationality, emotion and understanding, and body and mind. Ferrara demonstrates that each method of musical analysis confines musical significance to a single level. He devises an "eclectic method" that provides bridges for musical sound, form, and reference. In response to the multiplicity of levels of musical significance Ferrara's eclectic method draws upon a wide-ranging number of conventional and nonconventional approaches to musical analysis which results in a dialectic of methods.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some (...) will argue that they do not say enough, but this is unfounded as in saying less there is often scope for more. Who knows perhaps academe will experiment with this mode of writing more frequently?For the sake of a sense of direction, I will borrow Russell Nieli's title to his thoughtful book on Wittgenstein's philosophy, From Mysticism to Ordinary Language, 1 to characterize the procedure of these aphorisms. Thus my initial aphorisms begin with music as a thing-in-itself, a striving toward a Kantian noumenon 2 and move toward the everyday practical concerns of music education. There are no determinate limits to a philosophy of music; unfortunately, this is also true of confusion. The following aphorisms (while hardly exhaustive of any possible gamut of music philosophy) strive to demystify some of the more common aesthetic quandaries and hopefully provide an opportunity for a wider field of discussion in music philosophy and education. [End Page 112] Music: External and Internal Inferences Sound and silence as potentiation of music precedes human existence.If music precedes existence then it can never be defined in absolute terms of thought. It remains thus even if nothingness were an all-pervasive, encompassing silence (that is, the silence of music or music as silence). 3 Silence as music in our culture may be perceived to be music by some and not necessarily by all cultures. As the sound and silence that preceded our being, it is indeed music in everlasting potentiation.In this sense sound can only be philosophically inferred as the "other," outside music, which the pre-Socratic philosophers referred to mystically and metaphorically as "the music of the spheres"; it is that music outside of us and finds its origins in sounds indirectly related to us. 4 It is what I prefer to call the Sound and Silence that define and are defined by each other in their potentiation for music. Thus this sound is music as potential or dynamis if intended to be music and perceived as such. It is also the possible music or sounds of the environment and non-humans such as whales, elephants, and monkeys. But the latter is our perception of their "music" and not necessarily their own appropriation. In the former we can use or intend the sounds of the environment to be music if these are perceived as such by at least one other person.Thus all sound is music in potentiation.The notion of a possible pre-existence of music, as stated in the first aphorism, is then defined by music as both a source and external entity.As an external inference (that is, the possibility of such) music does not communicate with us; rather, we utilize it through our own means and culture to communicate by it indirectly. It becomes our social construct and thus not an absolute notion.This source of music can be verified as it is implicit in our respective societies and world cultures.A music which possibly or inferentially precedes existence is, of necessity, part of that possible catalyst of sound waves identified by modern-day physics by which the universe may have been formed. For this reason, such notions usually appropriated by world mythologies have made it possible to worship music, perceive it as a supernatural force, or even view it is a possible cause in the big bang theory. 5Music is embodied in experience in that it is appropriated by members of extant cultures for its own particular use. We can speak of music from within our personal experiences of it. But this can only be appropriated or understood properly by others when our description of it accords with that cultural... (shrink)

Focusing on a recent wave of international art cinema, Animal Worldsoffers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire(2010), The Turin Horse(2011) and A Cow's Life(2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - (...) the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures. (shrink)

This is a philosophical study by Lithuanian authors on issues related to how to teach philosophy, especially moral philosophy, through films, paintings, images, etc. The topics include multimodality as a synthesis; semiotics and language and image; cinema and philosophical education; postructuralism; film education; value education through spiritual cinema; Eastern Ethics for Western students through multimodal education; philosophy for children; sound and multimodality; Pedagogy of aesthetic to eco-pedagogy, etc.

_The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.

Examines the overlap between film and philosophy in three distinct ways: epistemological issues in film-making and viewing; aesthetic theory and film; and film as a medium of philosophical expression. This title available in eBook format. Click here for more information . Visit our eBookstore at: www.ebookstore.tandf.co.uk.

Murray Smith presents an original approach to understanding film. He brings the arts, humanities, and sciences together to illuminate artistic creation and aesthetic experience. His 'third culture' approach roots itself in an appreciation of scientific innovation and how this has shaped the moving media.

The story of Musicologia unfolds in thirty-one chapters from primordial considerations of silence, communication, selfhood, balance, and motion to focus on more recent and specific issues of chaos, order, relativity, and artificial ...