The world appears to conscious creatures in terms of experienced sensory qualities, but science doesn't find sensory experience in that world, only physical objects and properties. I argue that the failure to locate consciousness in the world is a function of our necessarily representational relation to reality as knowers: we won't discover the terms in which reality is represented by us in the world as it appears in those terms. Qualia -- arguably a type of representational content -- will therefore (...) not be found in the physical world as characterized in experience or science. Instead, consciousness constitutes a subjective, representational reality for cognitive systems such as ourselves, and the physical world is a represented objective reality. I suggest that naturalistic approaches to explaining consciousness should acknowledge the non-objectivity of experience, and be constrained by evidence that consciousness accompanies certain sorts of behaviour-controlling representational functions carried out by complex, physically instantiated mind-systems. I evaluate a variety of current hypotheses about consciousness, and suggest that a mature science of representation may help explain why, perhaps as matter of representational necessity, experience arises as a natural but not objectively discoverable phenomenon. (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

The Database on Ethics Related Legislation and Guidelines was launched in March 2007 as the fourth database of the UNESCO Global Ethics Observatory system of databases in ethics of science and technology. The database offers a collection of legal instruments searchable by region, country, bioethical themes, legal categories and applicability to specific articles of the UNESCO Universal Declaration on Bioethics and Human Rights and International Declaration on Human Genetic Data. This paper discusses the background and rationale for the database and (...) its role as a consultative and comparative resource hub for the study of ethics related legal instruments across the world, with the purpose of informing and inspiring relevant stakeholders on the implementation of the principles contained within the UNESCO declarations on bioethics. (shrink)

Enough and too much has been written about the Epic Cycle. Upon scanty quotations and a jejune epitome a tedious literature has been built. The older writers, such as Welcker, tried to ‘reconstruct’—as profitable and satisfying a task as inferring a burnt manor-house from its cellars; later scholars have gone out in tracing the tradition of the poems through the learned age of Greece—a scaffolding without ties, by which this or that conclusion is reached according to temperamental disposition to this (...) or that fallacy. I do not intend to enter more than is needful into a controversy where so far as I can see everyone has gone beyond the evidence. If I add to the bulk of the literature, it is in the hope of putting things in their proper places and of presenting the data as they appear to a future editor. (shrink)

I. Homeric Hymn to Apollo 334: κκλντε νν μοι γαα κα ορανòσ ερσ περθεν, TιτǴνεσ τε θεοιí π χθον ναιετοντεσ τρταρον μφ μγαν, τν ξ νδρεσ τε θεο τε.

As the apparent variant is in the text, Ludvvich alters the scholion into S0009838800018516_inline1, which has not been found in any MS. so far. The only noticeable point prima facie about S0009838800018516_inline2 is that it is an S0009838800018516_inline3 . Therefore I would read S0009838800018516_inline6. Ludwich's index to his A.H.T. gives cases of the omission of ov or OVK in the scholia. We need not restrict S0009838800018516_inline7 There is too much tendency to restrict usage in matters of language. At one time (...) it was believed that μxs22EFποτε was the property of Didymus! S0009838800018516_inline8 ‘passage’ does not occur in the scholia we possess, τόπος however does . Compare the note on H 96S0009838800018516_eqnU1xs22EFν xs1F04λλxs1FF3 xs1F51βριταxs22EF. We must supply in sense χωρxs22EFxs1FF3, for the reference is to Callim. Del. 69, where this is the meaning of xs22EFπειλητxs22EFρες. (shrink)

Mr. Agar has collected his adversaria on the Odyssey which have been enjoying cold storage these many years in the blue depths of the Journal of Philology, and increased them by about three-quarters. He has produced a very interesting and valuable book, the most important contribution to the linguistic history of the Homeric text that has been made for a long time. Mr. Agar holds that the language of Homer represents the original ‘Achaean’ speech, and that its abnormalities in vocabulary, (...) word-formation and metre are the result of natural unforced processes of transmission. This position, held by so well equipped and so trenchant an investigator as Mr. Agar, is reassuring. It does not involve any of the mythological factors of the Higher or the Lower Criticism still recommended among us by Mr. Leaf, Father Browne and Mr. Verrall–Pisistratus, Onomacritus, the Ionian conquest of Smyrna, the Thessalian Iliad, the original Achilleis,–and disagrees with Professor Murray's sinister diagnosis clear away the Attic surface and there rises beneath another surface with another set of corruptions, where Ionic rhapsodes have introduced just the same elements of confusion into an Aeolic or at least a pre-Ionic language. The confusion of tongues is deep down in the heart of the Homeric, dialect, and no surgery in the world can cut beneath it’ . The last ten years’ work in Comparative Philology has made it clearer and clearer that the rule-of-thumb for distinguishing the historical non-Dorian dialects does not apply to the heroic and post-heroic age, and that the terms ‘Aeolic’ and ‘Ionic’ in their usual sense should disappear from the history of Homer. The Homeric tongue derives directly from the pre-colonial language of Greece wherein two elements are discernible, the original Ionian and the Achaean or North-Greek which overlaid it. (shrink)

Mr. Agar has collected his adversaria on the Odyssey which have been enjoying cold storage these many years in the blue depths of the Journal of Philology, and increased them by about three-quarters. He has produced a very interesting and valuable book, the most important contribution to the linguistic history of the Homeric text that has been made for a long time. Mr. Agar holds that the language of Homer represents the original ‘Achaean’ speech, and that its abnormalities in vocabulary, (...) word-formation and metre are the result of natural unforced processes of transmission. This position, held by so well equipped and so trenchant an investigator as Mr. Agar, is reassuring. It does not involve any of the mythological factors of the Higher or the Lower Criticism still recommended among us by Mr. Leaf, Father Browne and Mr. Verrall–Pisistratus, Onomacritus, the Ionian conquest of Smyrna, the Thessalian Iliad, the original Achilleis,–and disagrees with Professor Murray's sinister diagnosis clear away the Attic surface and there rises beneath another surface with another set of corruptions, where Ionic rhapsodes have introduced just the same elements of confusion into an Aeolic or at least a pre-Ionic language. The confusion of tongues is deep down in the heart of the Homeric, dialect, and no surgery in the world can cut beneath it’. The last ten years’ work in Comparative Philology has made it clearer and clearer that the rule-of-thumb for distinguishing the historical non-Dorian dialects does not apply to the heroic and post-heroic age, and that the terms ‘Aeolic’ and ‘Ionic’ in their usual sense should disappear from the history of Homer. The Homeric tongue derives directly from the pre-colonial language of Greece wherein two elements are discernible, the original Ionian and the Achaean or North-Greek which overlaid it. (shrink)

Circumstances have allowed me to inspect the Paris MSS. of Strabo and to collate them for a portion of Book IX. , in view of an edition of Strabo's Thessaly which Mr. A. J. B. Wace has in contemplation.

Circumstances have allowed me to inspect the Paris MSS. of Strabo and to collate them for a portion of Book IX., in view of an edition of Strabo's Thessaly which Mr. A. J. B. Wace has in contemplation.

οδ γρ εδεης νδρ νον οδ γυναι πρν πειρηθεης σπερ ποζγου, οδ κεν εκσσαις σπερ ποτ’ ς ριον λθν. πολλκι γνμην ξαπατσ’ δαι. ς ριον A , σριον the rest.

The Homeridae bear the name of Homer, and should point a path by which we may climb to his personality. In antiquity they were known to be a γένος, a constituted family-corporation, though the accounts of the functions they fulfilled are scanty. Modern criticism, with its usual fluctuation, began by taking them at their apparent value; then adopted from a Roman grammarian a rationalistic explanation of them; invented other similar rationalistic explanations; and finally my lamented colleague Mr. Binning Monro robbed (...) them of all significance by treating the word as an adjective, an equivalent of Ὁμηρικοí Men who are called Sons of Homer should not be lightly dismissed, and it may be worth while to go over the familiar evidence once more in the hope that this obvious avenue to Homer may not turn out a blind alley. (shrink)