Music and philosophy

Temaet i oppgaven er forbudet mot omgaelse av tekniske beskyttelsessystemer etter andsverksloven § 53a. Framstillingen legger vekt pa hvordan de tekniske beskyttelsessystemene virker inn pa allmenhetens adgang til verk. Spesielt behandler oppgaven hvordan de tekniske beskyttelsessystemene virker inn pa allmenhetens rettigheter etter andsverkslovens privatkopierinsregel,avl. § 12.

In der Haupthalle des Pariser Musée d'Orsay schwebte 2021 ein riesiger Bildschirm, auf dem rätselhafte Bilder zu sehen waren: Eis schollen, aus denen Feuersäulen aufsteigen, Mondlandschaften mit Pfützen in bizarren Farben, Geisterschiffe, die über Packeis gleiten, aber auch Blumen mit doppelten Stempeln, die wie geklont aussehen und eine Art postapokalyptisches Herbarium bilden. Im Kontext der Ausstellung Les ori gines du monde. L'invention de la nature au XIX siècle (Die Ur sprünge der Welt. Die Erfindung der Natur im 19. Jahrhundert) er öffnete Artificialis, eine eigens für das Museum entworfene Präsentation des Films von Laurent Grasso, neue Perspektiven auf unsere heutige Welt-eine Welt, in der die Idee einer eigenständigen Natur, wie sie im 19. Jahrhundert Konjunktur hatte, nicht mehr gültig ist, eine Welt, in der nichts mehr ursprünglich und in der es nicht nur sinnlos, sondern praktisch unmöglich geworden ist, das Natürliche vom Künstlichen zu trennen.

No ano de 2008 foi corrigida, graças aos esforços da editora Cosac Naify e do tradutor José Pedro Antunes, uma falta de nosso mercado livreiro: a ausência entre nós de uma edição brasileira de Theorie der avantgarde, cuja publicação se dera no longínquo ano de 1974. Foram 34 anos de espera, 15 dos quais quebrando o galho com a edição portuguesa da Vega (1993), à qual, como qualquer edição importada, o acesso é difícil. Trata-se de um belo exemplar esse da Cosac. Afora uma ou outra opção editorial, tal como a de colocar as "Notas" ao final, o que dificulta a consulta, a edição ficou boa, especialmente pela esclarecedora "nota do tradutor" e pelas "imagens" espalhadas, que facilitam a entrada do leitor no clima da obra. O empreendimento de Peter Bürger, resultante dos problemas que enfrentou em suas análises de obras surrealistas, consiste no fornecimento de

This practice-based doctoral research addresses a critical issue in acousmatic composition: the journey from the immaterial world of sonic imagination to the realisation of musical sound. This was an exploratory journey, where my personal sensibility for visual arts practice met my curiosity and profound interest in acousmatic music. Methodologically, the project approached acousmatic composition as an organic process, intertwining visual sensibilities and musical domains by offering a critical approach to the listening experience and to my compositional practice. A key metaphor used is that of the blank page as a space for multi-form visualisation, where gestures derived from sketching and other visual stimuli are used as guides and catalysts for the realisation of sound. In this approach, a process of deliberately blurring boundaries between real and imaginary realms affords a space to daydream to be moved by sounds, the flow of mental images, virtual sensations, and memory-images that one can associate with traces, dots, shapes or textures. This parallel allows me to find my way within the sonic realm, shaping sound materials and sequences that progressively define a musical structure. This space, which has no proper physical existence, invites sonic and visual perception and imagination to confront, destroy and renew each another, directing the music's emergence through a feedback loop between the visual and the aural. A key conceptual tool in this practice is the notion of sensory qualia and a blend of phenomenological and ecological views of sound and bodily centered, internally registered responses. By focusing on qualitative sensations derived from drawing, painting and sensations of motion in the natural world, parallels with the sonic imagination are stimulated. The graphical expression of gestures deployed in space and time becomes a space of boundless, imaginative reflection of the composer's sonic conceptions and expectations. First and foremost I would like to express my profound gratitude to my thesis supervisors John Young and Pete Batchelor, for their continuous guidance and presence, their invaluable critique and support throughout my PhD journey. This research would not have been possible without the assistance of the doctoral scholarship offered by DMU Graduate School. I would like to extend my appreciation to the MTI 2 Institute of Sonic Creativity and its members for their presence, advice and the various opportunities given to me to present my research in foreign institutions with the support of #DMUGlobal. I am particularly grateful to Leigh Landy and James Andean for their precious advice. Then, I would like to thank Robert Normandeau for his invitation to compose a piece in the studios of the Université de Montréal (2016) and Theordoros Lotis for allowing me to undertake an Erasmus + Exchange (2016-7) in the Music Department at the Ionian University of Corfu. Their expertise and insightful critique was extremely valuable. I would like to thank VICC for inviting me to compose the last piece of my portfolio in Visby. I would like to express my deepest gratitude my family, Thérèse and Jean-Luc,

for always taking time to listen and offer advice. I would like to thank Dr. Barbara Memory for the tremendous assistance she gave to me during the final stages of this dissertation process. I would like to thank my family for their encouragement, prayers, and support during my studies. My uncle and aunt, Mr. and Mrs. Horace C. Knight, continuously believed in me and prayed for me. Thank you to my nieces Caprice and Cinamin, who were very supportive. I pray that they will continue to see that they can accomplish their goals in life. Thank you to my brother Kevin and his wife Tonya (and family) for encouragement. I hope that in a small way that I have helped to instill in my nephews, Aaron and Tyreik, the desire to work hard to achieve great things in their lives. Thank you to my niece Ashley whose effort to always strive for excellence is inspiring. I could have not dreamed a life in music without The Springfield Baptist Church and Carolyn Sanders Cleveland. Thank you Marietta, Raquel, and the (William) Manning family for your constant prayers. I would like to dedicate this work to the memory of my Grandmother, Mrs. Irene Knight Garrett; my mother Mrs. Mary Jane Knight Williams; my sister Mrs. Sherry Denise Knight Boyce; and my voice teachers Evelyn McGarrity and Willie Jackson. iv TABLE OF CONTENTS List of Figures……………………………………………………………………... vi Abstract……………………………………………………………………………. vii INTRODUCTION………………………………………………………………… 1 1. AN INTERVIEW WITH ANDRÉ THOMAS AND A DESCRIPTION OF THE REHEARSAL TECHNIQUES HE EMPLOYS Musical Training and Professional Experiences…………………………… Philosophy…………………………………………………………………... Choral Literature Concepts…………………………………………………. Choral Concepts and Rehearsal Strategies…………………………………. Choral Organization………………………………………………………… General Weaknesses in the Choral Field…………………………………… Rehearsal Observations…………………………………………………….. Analysis of Rehearsal………………………………………………………. Summary……………………………………………………………………. 2. AN INTERVIEW WITH JUDITH WILLOUGHBY AND A DESCRIPTION OF THE REHEARSAL TECHNIQUES SHE EMPLOYS Musical Training and Professional Experiences…………………………….. Philosophy…………………………………………………………………… Choral Literature Concepts………………………………………………….. Choral Concepts and Rehearsal Strategies………………………………….. Choral Organization…………………………………………………………. General Weaknesses in the Choral Field……………………………………. Rehearsal Observations……………………………………………………… Analysis of Rehearsal………………………………………………………… Summary……………………………………………………………………… DISCUSSION, CONCLUSIONS, AND RECOMMENDATIONS FOR FURTHER STUDY……………………………………………………………………………….

Anhand einer Untersuchung der Bagatellenzyklen op. 119 und op. 126 von Ludwig von Beethoven wird eine Theorie der kleinen Form entwickelt - und in eins damit ein Aspekt der Modernität beleuchtet, die von Beethovens Spätwerk antizipiert wird.

Based on an examination of the Bagatelle cycles op. 119 and op. 126 by Ludwig van Beethoven, a theory of the small form is developed — and, at the same time, an aspect of modernity is illuminated, which is anticipated in Beethoven’s late works.

It is possible to identify, in the field of musical aesthetics, the presence of remarkable female authors, neglected by our predominantly masculine histories of philosophy and of music. Among those authors, we find Susanne K. Langer, who recognizes the symbol, in its different types, as the human mode of expression par excellence. Focusing on Langer’s aesthetics, this article will examine the presentational symbols of music and of art in general. In order to understand how and what these symbols are capable of expressing, it will be first necessary to identify the logical preconditions to all kinds of expression. Secondly, it will be analyzed musical expression, its particular logical preconditions and its signification, through which the discursively inexpressible can be projected. Finally, it will be examined how Langer applies her conclusion about music to the other arts in her aesthetics, which due to its scope and acuity, should be more diffused.

En esta nota bibliográfica, nos proponemos reseñar dos
libros ya clásicos acerca de la obra de Samuel Beckett.
Se trata de dos libros que presentan grandes diferencias
entre sí, tanto por sus objetivos y su modo de abordaje
como por las características editoriales de ambos trabajos.

This essay explicates the position of Adorno and Horkheimer's Dialectic of Enlightenment on the problem of drugs. At the focus of my analysis are the passages in "Excursus I: Odysseus or Myth and Enlightenment" which interpret the Homeric myth of the Lotus-eaters in terms of the modern phenomenon of substance abuse. Since the Dialectic reads the Odyssey as the fundamental history of subjectivity, the indictment of drugs the authors recognize in the myth acquires, as it were, a transhistorical status. Building upon the work of Jacques Derrida and applying his notion of the pharmakon as a metaphysical concept of the drug, I show that the Dialectic reveals a much more ambivalent picture. The backbone of my argument is a structural comparison between the book's treatment of the Lotus and its interpretations of the myths of the Sirens and Circe, standing, on this account, for art and sex respectively.

Es geht um das Verhältnis von Digitalität und Materialität im Feld der Medien. Nach einer Bestimmung des Begriffs der Medien, der Materialität und der Differenz analog/digital, wird zunächst auf die Rolle der Quantenmechanik für die Mediengeschichte eingegangen. Danach geht es um den Unterschied von physikalischen und chemischen Medien. Nach einem kurzen Exkurs über die Ökologie medialer Materialität schließt der Abschnitt mit einer Betrachtung der digitalen Simulation und Emulation von Materialität und den daraus erwachsenden Imaginationen substitutiver Materialität.

Introduction À notre époque où les certitudes scientifiques deviennent des incertitudes et des doutes, il serait peut-être temps de redonner la priorité à la force de l'esprit créatif, ou créateur, qui conçoit et perçoit sans toucher. Il faut se poser la question si c'est l'esprit qui voit ou la matière qui fait voir. Car si la chose vue n'éveille pas son miroir dans le cerveau, elle est incompréhensible. Aussi, le monde et l'univers peuvent-ils être conçus sans être touchés et vus. De quelle manière ? Par la Pensée. Le cerveau humain fonctionnant dans sa totalité, librement, dans le silence et la paix, tourne comme une orbite sur lui-même, éclairant tous les aspects du monde. Cet astre, mû par une énergie intérieure, conçoit ce qui existe. En aucun cas sa puissance ne peut se confondre avec la matière. Il semble qu'elle préexiste et demeure. Son origine et sa source sont un mystère. Les liens qui relient ces cerveaux dans le temps ne périssent pas. Ils sont gravés, à jamais, dans l'univers. L'oeuvre d'Art musical a la vocation d'éterniser la Pensée. Au-delà du corps sonore, elle imprègne l'univers d'une marque indélébile. C'est vers elle qu'il faut tendre, au-dessus de sa structure temporelle, modes et esthétiques. Problématique. Hypothèse : Complète abstraction de l'oeuvre musicale Si l'on ne peut pas concevoir une oeuvre musicale comme une totalité indivisible, indestructible, contenant tout et surtout l'essentiel, comme une Forme spectrale, architecturale, mentale, ses beautés sont un chaos sonore, qui passera. Le fruit extérieur mais pas la graine génitrice. Cette graine est tombée de Beethoven sur Wagner, à travers le temps. La IXème symphonie contient déjà Tristan et Parsifal. La structure n'est rien, c'est l'Idée, Une, qui les relie. Sans doute grâce à une même capacité cérébrale, une même élévation, un même idéal transcendantal de ce qu'est la Musique. Car la Musique existe comme une Forme mentale supérieure, peut-être même comme sa source, puisqu'elle est plénitude de l'Harmonie et son chant va au-delà de la voûte des étoiles (über'm Sternenzelt) 1. Méthode et Application. Au lieu de chercher par des analyses, judicieuses mais techniques et pragmatiques, où est le début, la fin, le milieu, l'endroit, l'envers, la face et le fond, on pourrait d'abord tenter de saisir le mouvement essentiel, la rotation qui fait se mouvoir l'astre en éclairant le monde. Car la musique est universelle et sa composition embrasse l'univers. Elle est un Tout spirituel, parfait, ou elle n'est pas. Ainsi que l'on saisisse le globe virtuel de la IXème, par sa fin, l'audelà de la voûte des étoiles, et qu'on le fasse pivoter à l'envers, on touchera toujours la foudre, Götterfunken, qui éclate, dès le début. Cette oeuvre est un tout irréductible, parfait, qui exprime l'essentiel, à savoir, à tout moment et dans chaque note, la puissance de l'éclair divin. Si l'on pouvait recréer, de manière totalement libre et différente, ce cristal, ce chef-d'oeuvre, aujourd'hui, peut-être pourrions-nous nous connecter à nouveau à une réalité supérieure, une vérité indestructible qui surpasse, et de loin, toutes les découvertes, scientifiques, chaotiques de la matière.

Paying heed to the nature of sonic experience, particularly sound’s ability to penetrate boundaries and the way in which a listener is drawn into the world around them, radically reconstitutes our sense of listening subjects and their relationship to their acoustic environments. This kind of thinking is found not only in modern scholarship on the senses but also in the work of early modern writers. In their distinctive fashions, each of the writers considered in this chapter—Thomas Whythorne, Charles Butler, and Francis Bacon—are fascinated by the ways in which the mediations of sonic experience challenge any simple conception of the listening subject and its relationship to the environment they inhabit. In attempting to transcribe or to describe on the page the distinctive forms of knowing derived from sonic experience, these writers explore the more contingent, situated forms of ‘meaning’ that result from acts of attentive listening.

La música electrónica es una diferencia comunicativa del sistema del arte que se da a través del surgimiento y uso de máquinas electrónicas. Se observa en 1) experiencias en los sistemas de interacción, y 2) semánticas en un sistema funcionalmente diferenciado, 3) que además se diferencia en una sociedad cuya técnica se encuentra desarrollada. Para ello se identifican cuatro unidades analíticas: experiencia y sistemainteracción, semántica y sistema-arte, diferenciación social y sistema-sociedad, regionalización de una comunicación con la distinción local/mundial. Esta tesis contribuye al establecimiento de la música electrónica como comunicación artística en una sociedad mundial. La experiencia se observa en la inmersión en el sonido y la epojé colectiva del colectivo a través del cuerpo como mecanismo simbiótico. La semántica se observa a través de dos distinciones, infinito/no infinito y utopía/distopía, mientras que los géneros y sus variaciones se observan como programas condicionales que fijan una comunicación como parte del lado señalado. La diferenciación social de esta comunicación dará cuenta de cómo el arte tematiza la técnica de la sociedad en función del desarrollo de dispositivos específicos que permiten una variación infinita del sonido. México y Alemania serán las regiones mediante las cuales se observa una comunicación mundial a través de las escenas de la música electrónica y de los acoplamientos estructurales de la sociedad.

This paper is an interdisciplinary study between concepts of Indian music and spirituality. Indian Classical Music is immensely impactful; it has the quality and distinction of giving divine pleasure through its presentation. This divinity can transform an average listener, artist or a student in to a thoughtful, focused and, devoted person, and has the capacity to take him to an entirely different state. Hence the connection between musical expression and the spiritual state of mind can be felt or understood clearly through music. While I was studying about various artists and experts in the field of music, I realized that their spiritual outlook had a positive effect on their musical personality.

The present paper is the original and larger version prepared for the talk Adorno, Music and Philosophy: A Very Short Introduction given at Goethe Institut / Max Mueller Bhavan Kolkata on 30 August 2010 at the release of the book Night Music, a collection of essays on music by Theodor W. Adorno in English translation by Wieland Hoban and published by Seagull Books. The ‘Very Short Introduction’ has been on my Academia webpage for a longish time. This ‘Short Introduction’ contains a few details, including anecdotal ones, which might interest readers curious about Adorno’s philosophy of music. 26 July 2025

CSA is a method with which, for example, formal articulations of a musical composition can be perceived. [2] Comparison Set Analysis CSA is a method with which, for example, formal articulations of a musical composition can be perceived. [2] In CSA musical units like pitch classes in a composition are segmented into overlapping sets of the same cardinality. Comparison Set Analysis CSA is a method with which, for example, formal articulations of a musical composition can be perceived. [2] In CSA musical units like pitch classes in a composition are segmented into overlapping sets of the same cardinality. These segments are then compared with a selected comparison set, constructed from similar units. Comparison Set Analysis The comparison set embodies a chosen musical property whose prevalence is then evaluated in the composition. Comparison Set Analysis The comparison set embodies a chosen musical property whose prevalence is then evaluated in the composition. The results can be pres...

This chapter meditates on the problem of meaning in late Beethoven by reconstructing key themes of suffering, faith, and longing for transcendence in Beethoven’s life and music via the cultural unit, while considering the relevance of these connotations for today’s world. Cultural units are abstractions existing in culture that are irreducible to single lexemes or natural language, not limited to the constraints and realities of the physical world, and uniquely articulated by different linguistic, literary, and artistic media. Central to the chapter’s reconstruction are Beethoven’s innovations regarding the expressive and philosophical weight and breadth of the cultural unit’s musical realizations: these are enabled by a threefold expansion of dialogic form, one already latent in Hepokoski and Darcy’s conceptualization, while two others are unique consequences of Beethoven’s search for metaphysical and existential truth and communion with God via the medium of music. The cultural unit is explored in sketch evidence, Beethoven’s Tagebuch and letters, historically informed analysis of the late piano sonatas Op. 101, Op. 110, and Op. 111 and their revisiting of ideas from the “Appassionata,” Op. 57 and the Cello Sonata, Op. 69, along with key references to the Ninth Symphony and Missa Solemnis, to reveal a picture of a man who asks deep and lasting questions of us, our human condition, and how to respond to it all.

This essay draws on Vilém Flusser’s phenomenological approach and speculative thinking to envision a theory of architectural design. It focusses particularly on the last book he published during his lifetime, Gesten (Gestures) 1991. Based on a series of lectures held in São Paulo and in the mid-seventies in France, Gesten offers a sequence of 18 essays reflecting upon everyday activities as “movement(s) of the body or of a tool attached with the body, for which there is no satisfactory causal explanation” (3-4). The book culminates in the call for a general theory of gestures. Starting from a close reading of some of these chapters, this essay examines the relation between gestures and thinking, between gestures and the future, with a particularly close look at the gesture of making. Gestures are discussed in terms of primary means of visual expression, which in many ways become starting points for design processes.  Flusser's general theory of gestures facilitates a theory of architectural design based on a phenomenological analysis of its tools and processes. By going back to some of Flusser's writings on tools, machines and apparatuses and their unforeseen repercussions, new design practices and digital design tools can be understood as ways of simulating and anticipating the consequences of design decisions, permitting us to better understand and deal with them.

https://flusserstudies.net/person/christian-g%C3%A4nshirt

Coordinating in action groups consists of continuously adapting behaviors in response to fluctuating conditions, ideally with limited disruption to a group's collective performance. Through an 18-month ethnography of how members of a community choir maintained beautiful, ongoing performance, I explored how they continuously adapted their coordinating, starting when they felt that their collective performance was fragmented or falling apart. The process model I developed shows that this aesthetic experience-the sense of fragmentation based on inputs from the bodily senses-leads to emotional triggering, meaning group members' emotions prompt changes in their attention and behavior. They then distribute their attention in new ways, increasing their focus on both global qualities of their ongoing performance (in this context, the musical score and conductor) and local qualities (singers' contributions). My findings suggest that by changing what aspects of a situation compose their immediate experience, action group members can adapt their coordinating behaviors by changing their heed: the behavior that demonstrates their attentiveness and awareness. The intertwining of attention and emotions helps explain how groups move between heedless and heedful interrelating over time, leading to an aesthetic experience of collective performance as being whole or coherent. My research shows that embodied forms of cognition (what we know from direct experience of an environment) complement accounts of how representational forms of knowledge (what we know from symbols, concepts, or ideas) facilitate real-time adaptation in groups. These insights have implications for a range of organizations engaged in complex action group work.

Notationso schreibt Brian Ferneyhough Ende der 1970er-Jahre -(parti cularly notation) shozvs us two faces: traceable and analysable in terms of historie development as it doubtless is, it is nevertheless hardly to be separated, even in principle, from the actual goals which a particular artist has set himseif. lt is far from accidental that so many works of the last three decades are perhaps more iinme diately categorisable in terms of their visual rather than their aural characteristics.' Was Ferneyhough für die Entwicklung der Neuen Musik der Nachkriegszeit allgemein formuliertund was für manche posttonale Musik seit Anfang des 20. Jahrhunderts rekonstruiert werden könnte -‚ ist mindestens in Hinblick auf sein eigenes Werk evident: Es sind vor allem die komplexen visuell-notationa len Aspekte der Kompositionen, anhand derer sich die historischen Anknüp fungspunkte und die sich daran anschließende Selbstprogrammierung der stilistischen Entwicklung rekonstruieren ließen. Aber nicht nur die Komplexität der Partituren, sondern auch die die Rezeption von Anfang an begleitende Kri tik an ihrer Unspielbarkeit können als hervorstechende Merkmale der Kunst Brian Ferneyhoughs angesehen werden; sie sind der initiale Grund für die von der Musik ausgehenden Irritationen und Faszinationen. Dabei soll keineswegs abgestritten werden, dass eine annähernd 40-jährige Aufführungspraxis der Musik nicht nur in quantitativer, sondern auch in qua litativer Hinsicht durchaus zu beeindrucken vermag und sich die Frage nach

La creazione musicale di Rossini, presentata alla Scala nel 1817 e derivata dal testo francese del 1815 La pie voleuse, vede, nella sua ambientazione nei pressi di Parigi, narrata la vicenda di una giovane domestica accusata a torto del furto delle posate di argento di proprietà dei suoi datori di lavoro, con lo scopo di usarle per aiutare il padre che si trova in un problematico contesto, alla fine della vicenda si scoprirà che l'effettiva colpevole dei furti è una gazza, la quale sottrae oggetti d'argento dalle case del borgo e li occulta nel suo nido in vetta al campanile. Il film La gazza ladra del regista Robert Guédiguian, ora nelle sale italiane, rielaborando la vicenda, ambientandola nel nostro contemporaneo e problematico presente, ed a Marsiglia, fa della protagonista, la domestica ad ore Maria, che ora svolge questo lavoro di assistenza domestica dopo avere perso l'impiego in ufficio, a seguito della chiusura dell'azienda, un'effettiva gazza ladra per nobili necessità, infatti, la donna sottrae soldi ai suoi ricchi assistiti e compila gli assegni a lei

Schellhammer und Kops diagnostizieren in „Zuhören – die vergessene Seite der Sinnerzählungen“ eine Bedeutungsarmut herrschender Narrative, da echtes Zuhören fehlt. Sie plädieren für ein dialogisches „Hören im Zwischen“, inspiriert von Liparis „Being listening“ und Pörskens „Ich-Ohr“ versus „Du-Ohr“. Sinn entstehe nicht durch dominante Erzählungen, sondern durch empathisches Aushalten von Andersheit. Die Autor:innen fordern, widerständiges und interdisziplinäres Zuhören als zentrale Praxis von Wissenschaft und Gesellschaft zu etablieren.

BCR3102 «Hvordan leder unge studenter seg selv gjennom kreative prosesser»? Bachelor oppgave 2017 "Denne oppgaven er gjennomført som en del av utdannelsen ved Høyskolen Kristiania. Høyskolen Kristiania er ikke ansvarlig for oppgavens metoder, resultater, konklusjoner eller anbefalinger." brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Kristiania Open Archive

BCR3102 «Hvordan leder unge studenter seg selv gjennom kreative prosesser»? Bachelor oppgave 2017 "Denne oppgaven er gjennomført som en del av utdannelsen ved Høyskolen Kristiania. Høyskolen Kristiania er ikke ansvarlig for oppgavens metoder, resultater, konklusjoner eller anbefalinger." brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Kristiania Open Archive

Este artículo se propone indagar acerca del estatuto del humor en la narrativa de Samuel Beckett. Para ello, trazaremos un recorrido que va desde la dimensión irónica de sus textos juveniles hasta la comicidad que se observa en su obra de madurez, ligada a la noción de “fidelidad al fracaso”. A partir de un rastreo por momentos de su biografía y de su correspondencia, en especial aquellos episodios vinculados con la recepción de sus primeros textos y algunas de sus reflexiones durante el viaje a Alemania (1936-1937), identificamos una crisis de escritura y una necesidad de replantear las formas y el lenguaje literario heredados. En ese marco, entendemos que Watt y Mercier et Camier representan un punto de quiebre dentro de la poética beckettiana y operan como un laboratorio autorreflexivo que sentará las bases del humor beckettiano. Posteriormente, el artículo esboza teóricamente una aproximación al humor de Beckett luego de la Segunda Guerra Mundial y propone líneas de lectura para el abordaje para la narrativa que este autor escribió a partir de 1945.

exhibits an iconoclastic use of traditional religious texts. The second half of the twentieth century had inaugurated a time of radical cultural change; a crisis of faith existed, as changes in religious thought occurred too fast for new forms of expression to develop. Old rituals and categories were no longer adequate to describe the human experience, yet there continued to be a need for religious expression. A parallel crisis was developing in music, as classical music became enshrined in old forms. Composers, recognizing the inadequacy of old models of expression for contemporary spiritual and musical needs, sometimes placed religious themes and texts into new contexts, resulting in a mingling of the sacred and the profane which may appear to be shocking or even blasphemous. This paper is a part of a larger study of such works from the 1960s and 70s, examining how this blending of contexts might be interpreted. It examines how Chion uses noise as symbol, and how he creates dissonance through ironic juxtaposition of text, material and sonic treatment relying on synchresis to forge meaning.

Ahdistuneisuushäiriöt kuuluvat opiskelijoiden tavallisimpiin mielenterveyden häiriöihin. Ne ilmenevät usein samanaikaisesti muiden psyykkisien ongelmien, somaattisten sairauksien tai päihdehäiriöiden kanssa. Ahdistuneisuushäiriöt voivat aiheuttaa merkittävää psykososiaalisen toimintakyvyn heikkenemistä ja vaikeuttaa arkielämää, joskin suurella osalla häiriöt ovat hoidettavissa perusterveydenhuollossa, esimerkiksi opiskeluterveydenhuollossa. Ahdistuneisuus voi esiintyä monimuotoisena yleistyneenä ahdis-tuneisuushäiriönä, kohteettomina paniikkikohtauksina tai rajattuun kohteeseen kohdistuvina pelkoina. Turvattomuus- ja traumakokemukset ja mielentämis- eli mentalisaatiokyvyn ongelmat ovat tavallisia ahdistuneisuuden taustatekijöitä.

Resumo: Este artigo apresenta o caráter dúbio do movimento Barberbeats, subgênero de música eletrônica do movimento vaporwave. Em primeiro lugar, buscamos determinar a proposta do Barberbeats para estabelecer as diferenças do gênero em relação à música eletrônica e ao vaporwave. Consideramos dois níveis de discussão do estilo: enquanto simulacro ou cópia do movimento originário e o seu aspecto anestético, visto a indiscernibilidade do objeto em comparação a outros gêneros musicais como o downtempo e o lounge music. Para tal análise são relevantes conceitos como reprodutibilidade técnica, aura, música de fundo e desinteriorização dos objetos estéticos (conforme Benjamin, Adorno e Han) buscando realizar uma cartografia do objeto. Como desdobramento da investigação do objeto, postulamos a condição limiar do Barberbeats e a dificuldade em determinar com exatidão se sua proposta estética constitui um gênero próprio derivado do vaporwave ou se é viável supor, conforme Adorno, que se trata de música fora de lugar.

Dr. Leonardo Requejo's doctoral Thesis, English version. The Hermeneutic Catenary is a model proposed by Dr. Requejo to advance musical thinking, analysis, and creation. The core tenants of this thesis are:
- Music unfolds in a dynamic cycle from the Sound Imaginary to concrete Manifestation and back.
- This cycle connects Potencies, processes, and Agents through its various forms.
- The Hermeneutic Catenary is an elegant model for exploring this cycle's reality and possibilities.

Drawing from the Theresienstadt ghetto Theresienstadt, a transit camp for Jews on their way to death camps, was a Potemkin Village Theresienstadt is the German name for the Czech fortress town of Terezín, located about 25 miles from Prague. In 1941 the Nazis decided that Terezín, surrounded by walls and a moat, was ideal for a Jewish ghetto. The first transport of Jews from Prague arrived November 1941, and by June 1942 the Czech population was relocated and the entire town used to imprison Jews.

La composición espacial es crucial en la música acusmática, como resaltan Chion [7], Roads [19] y Smalley [24]. Esta investigación busca establecer un análisis neutro del componente espacial en obras acusmáticas. Aunque muchos estudios se enfocan en la percepción del espacio, pocos examinan la estructura espacial en las grabaciones, como indican Chion [6, 7] y Smalley [24, 25]. Basado en el modelo tripartito de Nattiez [14], se puede analizar la estructura musical espacial a nivel neutro, comparándola con los niveles poético y estésico para descubrir nuevas correlaciones y contradicciones. Este proyecto desarrollará un sistema conceptual y tecnológico para extraer información de obras acusmáticas (estéreo y multicanal), evaluando la distribución del contenido espectral y las dinámicas en su espacio interno [7]. El objetivo es identificar el uso discursivo del espacio en niveles como macro-forma, meso-estructura, secciones y objetos sonoros [19], explorando estilos y su evolución en la práctica composicional. Como paso inicial, se ha creado un catastro de diferentes aproximaciones al análisis de la composición espacial acusmática, reflejadas en diversas taxonomías y glosarios presentados en esta ponencia. Palabras clave: composición espacial, música acusmática, modelo tripartito de Nattiez, análisis neutro.

Salazar es un crítico musical especialmente reconocido, sobre todo en el ámbito español y mexicano. A pesar de ello, aún quedan numerosas cuestiones por investigar en su complejo y rico discurso musical. Probablemente unas de las más importantes y olvidadas sean las cuestiones de género (teniendo en cuenta, además, que el crítico era homosexual, con la asunción no normativa que ello implica). Como se analizará en este artículo, estas miradas de género en sus textos críticos plantean de forma implícita una nueva masculinidad que invade de manera profunda diversas facetas asociadas a la música. De los aspectos vinculados con la nueva masculinidad se analizará uno especialmente claro en sus textos: el uso de las flores, los aromas y los perfumes, con énfasis en un perfume especialmente significativo, el oriental, y su relación con el homoerotismo y la música moderna. Palabras clave: música moderna, vanguardia, nueva masculinidad, flores, perfumes, orientalismo, homosexualidad. Adolfo Salazar is a particularly well-known music critic, especially in Spain and Mexico. However, there are still many issues to explore in his complex and rich musical discourse. Probably some of the most important and overlooked are the issues of gender (taking into account, in addition, that the critic was homosexual, with the non-prescriptive assumption that this implies). As analysed in this article, these perceptions of gender in his critical texts implicitly suggest a new masculinity that deeply pervades various facets of music. Of the issues related to new masculinity, one that is especially clear in his texts will be analysed: the use of flowers, aromas and scents, focusing on a particularly important scent, the oriental, and its relation to homoeroticism and modern music.

Data mining is the process of finding correspondence or patterns among dozens of fields in large relational databases. It deepens the data analysis, also is able to mine the interesting mode hiding in mass data automatically. As a new data analysis technology, it provides for researchers of various fields with new intelligence means to realize and use data and has been put to many fields. One of its novel applications has been in the teaching sector, where it has been extensively used for the evaluation and analysis of Student and Faculty performance. This works provides a comparative analysis of the use of data mining rules in different works and gives some corrective suggestions for future works.

The discourse concerning musical expression hinges on a fundamental analogy between music and language. While the extant literature commonly compares music to language, this essay takes the reverse direction, following Wittgenstein’s approach. The discussion contrasts the theoretical underpinnings of the “music as language” simile with those of the “language as music” simile. The emphasis on characterization, performance, mutual tuning-in relationships, the interaction between language and music, and the open-ended effort to reorient ourselves as we draw in significance challenges the “informing paradigm” that has been paramount across contemporary philosophical theories of musical expression. One of the most promising philosophical avenues that emerges as we move beyond the “informing paradigm” is recognizing the inseparable relationship between musical expression and our power to shape our own language.

Liikunta on nykyaikana pitkälle teollistuneissa korkean elintason maissa erilaisessa suhteessa yksilöön ja hänen tietoisuuteensa kuin ennen. Liikkumista helpottavat tekniset apuvälineet 2 . Ellei tietoisesti halua käyttää kehoaan ja lihasvoimaa, valitaan tilanteeseen sopiva apuväline. Tänä päivänä liikkumaan ja urheiluun ryhtyminen vaatii tietoisen valinnan. Tietoinen valinta liikkumaan ryhtymises-1. Ote juoksupäiväkirjastani. 2. Juokseminen ei ole toimintana teknologiasta riippuvainen. Oma keho ja juoksemiseen soveltuva maasto riittävät. Tämä voi synnyttää kokemuksen oman toiminnan autonomiasta ja "vapaudesta".

This paper examines what I call Stanley Cavell's *aesthetic turn* in philosophy, rooted in his early crisis as a musician and shaped by his engagement with J.L. Austin's theory of performatives. While Austin emphasizes the "order of law" in performative utterances, Cavell explores the "disorders of desire," highlighting the expressive and vulnerable dimensions of passionate speech. Cavell reclaims the "human voice" in philosophy, viewing language as more than a vehicle for knowledge—it is an act of *acknowledgment,* requiring sensitivity to tone, rhythm, and emotional resonance. Drawing on Wittgenstein, Cavell likens understanding language to hearing the music that shapes its life, moving beyond rigid propositional knowledge to embrace an "understanding without meaning." This aesthetic sensibility reframes philosophy as a space where reason and passion, thought and feeling, and language and music are intertwined, opening possibilities for a deeper, more intimate engagement with the ordinary and the expressive dimensions of human experience.

Resumen:
Frente a la rigidez teórica de los estudios sobre el Hip Hop centrados
en aspectos políticos –entendidos como resistencia–, surge la
necesidad de pormenorizar un despliegue más amplio y singular
sobre sus prácticas creativas y las relaciones sociales que las
caracterizan. En este marco, se propone un acercamiento a las redes
de producción del Hip Hop conformadas por humanos y objetos
técnicos, desde la teoría del actor-red presente en Zagorski-Thomas
(2014), en interacción con el concepto de habilitación tecnológica
propuesto por DeNora (2004), además de la noción de mediación
musical incorporada por Hennion (2002).
Este artículo es un análisis autoetnográfico sobre mi experiencia en
varias sesiones de producción en el estudio Amuank Rec’s en los
últimos años de la década del noventa, espacio que propició la
incorporación del software Cool Edit Pro en el mundo del rap quiteño.
Analizo, cómo la adopción de este software transformó las redes de
producción, impulsando el surgimiento de procesos creativos,
productivos y de distribución. De esta manera, buscó destacar el rol
del conjunto de mediaciones en el aparecimiento de prácticas
creativas, la influencia de espacios e individuos y las diversidades
sociales e ideológicas que interactuaron. Este artículo traza una
genealogía del origen de la producción discográfica del rap en Quito,
al tiempo que problematiza sobre la idea de que el Hip Hop se ciñe al
ámbito de la resistencia.

In dem Buch Technopoly spricht der amerikanische Pädagoge und Kulturkritiker Neil Postman davon, daß die Entwicklung der westlichen Gesellschaft den Zusammenhang zwischen der stofflichen Darstellung einer Information und ihrer praktischen Verwendung tendenziell auflöse. Ohne solch eine Verbindung aber bleibe "Information" für uns ohne Bedeutung; und was für uns keine Bedeutung besitze, existiere in gewissem Sinne -nach konstruktivistischer Auffassung nämlich (Glasersfeld 1997) -für uns überhaupt nicht. Mehr noch: ohne Kontext sei Information nicht nur nutzlos, sondern sogar schädlich. (Postman 1993) Die Auffassung, daß Information keine objektive, quantitativ erfaßbare, von einem Ort zu einem anderen übertragbare, von einer Person an eine andere mitteilbare Sache sei, die Auffassung also, daß Information nicht reifiziert werden könne, hat sich im Zuge der Kritik an der Informationstheorie und der Fortschritte der Kognitionswissenschaft stark ausgebreitet, ja, vielleicht auf breiter Front durchgesetzt (Foerster et al. o.J., Varela 1993). Die auf Shannon und Weaver (1948) zurückgehende sog. Informationstheorie hat sich längst als eine Theorie technischer Übertragung von Signalen erwiesen, und war von ihren Autoren auch nicht anders gemeint gewesen 1 . Dennoch spielen quantitative Auffassungen von Information im alltäglichen Reden von Politikern, Pädagogen, Medieninformatikern u.ä. nach wie vor eine große Dieses Dokument wird unter folgender creative commons Lizenz veröffentlicht: 1 Nachdem Shannon und Weaver den Begriff der Nachricht (message) eingeführt haben, sagen sie: "Frequently the messages have meaning; that is, they refer to … some system with certain physical or conceptual entities. These semantic aspects of communication are irrelevant to the engineering problem." Erstens erhalten wir den Hinweis, daß Bedeutung nicht in der Nachricht selbst liegt, sondern im Verweis auf anderes. Zweitens aber hat es der Ingenieur mit "Bedeutung" nun gerade nicht zu tun. Information in der Nachrichtentheorie ist eine Quantität, die das ausdrücklich ausschließt, worauf es im umgangssprachlichen Begriff des Wortes "Information" ankommt.

This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music (as decodable to an educated audience) and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais (1834), the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign (signe mémoratif) in the minds and lives of individuals (the novel’s protagonists). This is the most distinctive representation of the said process in the French literature of the first half of the nineteenth century. In the short story Massimilla Doni (1837), on the other hand, Balzac analyses the score of Rossini’s Mosè in Egitto (1818) – elements such as instrument and musical key symbolism as well as the music’s impact on listeners in the context of the then reflection on art. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.

The most famous optical illusion in recent years is probably Kitaoka's presentation in X, which showed that a Coca-Cola can can appear red without using red. It can be inferred that the illusion of red was created by mixing white, black, and cyan which is complementary colors of red.
In this study, I propose a method to create the illusion of two or more non-existent colors using their complementary colors and gray scale intensity