Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

Author(s):  
Allen Carlson

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.


Author(s):  
Allen Carlson

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. The development of environmental aesthetics has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors have broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both have helped to set the central philosophical issues of the field, which are due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large, and the nature of art. These differences are so marked that environmental aesthetics must begin with most basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, which are typically classified as either noncognitive or cognitive approaches. Positions of the first type stress various kinds of emotional and feeling-related states and responses, which are taken to be the more noncognitive dimensions of aesthetic experience. By contrast, positions of the second type contend that appreciation must be guided by the nature of objects of appreciation and thus that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each of these two kinds of approach has certain strengths and weaknesses. However, recent work in environmental aesthetics, especially in the aesthetics of human environments and everyday life, demonstrates that although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, demonstrates just how rewarding such appreciation can be.


2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.


APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.


2020 ◽  
pp. 1-37
Author(s):  
MANISHA SETHI

Abstract A bitter debate broke out in the Digambar Jain community in the middle of the twentieth century following the passage of the Bombay Harijan Temple Entry Act in 1947, which continued until well after the promulgation of the Untouchability (Offences) Act 1955. These laws included Jains in the definition of ‘Hindu’, and thus threw open the doors of Jain temples to formerly Untouchable castes. In the eyes of its Jain opponents, this was a frontal and terrible assault on the integrity and sanctity of the Jain dharma. Those who called themselves reformists, on the other hand, insisted on the closeness between Jainism and Hinduism. Temple entry laws and the public debates over caste became occasions for the Jains not only to examine their distance—or closeness—to Hinduism, but also the relationship between their community and the state, which came to be imagined as predominantly Hindu. This article, by focusing on the Jains and this forgotten episode, hopes to illuminate the civilizational categories underlying state practices and the fraught relationship between nationalism and minorities.


1996 ◽  
Vol 5 (2) ◽  
pp. 239-273
Author(s):  
Constance Lever-Tracy ◽  
David Ip

This article explores two new and related phenomena of the late twentieth century that will surely play a major role in shaping the world of the twenty-first: the economic development and opening up of China, and the emergence onto the world economic stage of diaspora Chinese businesses, producing a significant, identifiably Chinese current within global capitalism. Each of these has, we believe, been crucial and perhaps indispensable to the other.


2021 ◽  
Vol 32 (4) ◽  
pp. 109
Author(s):  
Svetlana Neretina

The article rejects the reading of Thomas More's Utopia as, first, a statement of More's own views on the ideal state and, accordingly, his definition not only as a humanist, but as a communist, and, secondly, an attempt is made to present the humanistic foundations of his ideas and ways of expressing them. These ways of expression are connected with the tropological way of his thinking, expressed through satire and irony, with an eye to ancient examples, which was characteristic of the philosophy, poetics and politics of humanism, one of the tasks of which was to try to build a new society (especially relevant in the period of geographical discoveries), architecture, an unprecedented ratio of natural objects (archimboldeski). The models for "Utopia" were the works of Plato, Lucian, and Cicero. It is written in the spirit of the times, with criticism of state structures, private property, the distinction between the private and the public, and openness to all ideas. Intellectual disorientation of readers is a specific creative task of More writer, his test of their ability to quickly change the optics, to consider history as an alternative world, radically different from our own, but connected with it. Thanks to an extremely pronounced intellectual tension, it goes beyond the limits of time, like the works of Plato, Aristotle, Augustine, Marx... Utopia can be represented as a dystopia, if we take into account the performative nature of the latter, which contributes to the instantaneous translation of words into action, realizing the world of utopia. Dystopia is the answer to utopia with a change of sign: about the same thing, changing the optics, you can say "yes" and "no". This means that in the modern world, indeed, and for a long time, virtual consciousness becomes little different from the real one, and imagination replaces the theoretical position, acquiring its form, turning theory into fiction. A hypothesis is put forward about the presence of many utopian countries in" Utopia": Achorians, Polylerites, Macarians, Anemolians.


1908 ◽  
Vol 54 (227) ◽  
pp. 704-718
Author(s):  
Lady Henry Somerset

I fully appreciate the very great honour which has been done to me this afternoon in asking me to speak of the experience which I have had in nearly twenty years of work amongst those who are suffering from alcoholism. Of courseyou will forgive me if I speak in an altogether unscientific way. I can only say exactly the experiences I have met with, and as I now live, summer and winter, in their midst, I can give you at any rate the result of my personal experience among such people. Thirteen years ago, when we first started the colony which we have for inebriate women at Duxhurst, the Amendment to the present Inebriate Act was not in existence, that is to say, there was no means of dealing with such people other than by sending them to prison. The physical side of drunkenness was then almost entirely overlooked, and the whole question was dealt with more or less as a moral evil. When the Amendment to the Act was passed it was recognised, at any rate, that prison had proved to be a failure for these cases, and this was quite obvious, because such women were consigned for short sentences to prison, and then turnedback on the world, at the end of six weeks or a month, as the case might be, probably at the time when the craving for drink was at its height, and therefore when they had every opportunity for satisfying it outside the prison gate they did so at once. It is nowonder therefore that women were committed again and again, even to hundreds of times. When I first realised this two cases came distinctly and prominently under my notice. One was that of a woman whose name has become almost notorious in England, Miss Jane Cakebread. She had been committed to prison over 300 times. I felt certain when I first saw her in gaol that she was not in the ordinary sense an inebriate; she was an insane woman who became violent after she had given way to inebriety. She spent three months with us, and I do not think that I ever passed a more unpleasant three months in my life, because when she was sober she was as difficult to deal with-although not so violent-aswhen she was drunk. I tried to represent this to the authorities at the time, but I wassupposed to know very little on the subject, and was told that I was very certainly mistaken. I let her go for the reasons, firstly that we could not benefit her, and secondly that I wanted to prove my point. At the end of two days she was again committed to prison, and after being in prison with abstention from alcohol, which had rendered her more dangerous (hear, hear), she kicked one of the officials, and was accordingly committed to a lunatic asylum. Thus the point had been proved that a woman had been kept in prison over 300 times at the public expense during the last twenty years before being committed to a lunatic asylum. The other case, which proved to me the variations there arein the classifications of those who are dubbed “inebriates,” was a woman named Annie Adams, who was sent to me by the authorities at Holloway, and I was told she enjoyed thename of “The Terror of Holloway.” She had been over 200 times in prison, but directly she was sober a more tractable person could not be imagined. She was quite sane, but she was a true inebriate. She had spent her life in drifting in and out of prison, from prison to the street, and from the street to the prison, but when she was under the bestconditions I do not think I ever came across a more amiable woman. About that time the Amendment to the Inebriates Act was passed, and there were provisions made by which such women could be consigned to homes instead of being sent to prison. The London County Council had not then opened homes, and they asked us to take charge of their first cases. They were sent to us haphazard, without classification. There were women who were habitual inebriates, there were those who were imbecile or insane; every conceivable woman was regarded as suitable, and all were sent together. At that time I saw clearly that there would be a great failure (as was afterwards proved) in the reformatory system in this country unless there were means of separating the women who came from the same localities. That point I would like to emphasise to-day. We hear a great deal nowadays about the failure of reformatories, but unless you classify this will continue to be so.


2020 ◽  
Vol 36 (36) ◽  
pp. 081-106
Author(s):  
張琬琳 張琬琳

<p>二十世紀初,在國際間崛起的各國勢力,加速了各民族內部自我整頓與反省的動力,東方音樂家學習西方音樂,也試圖以西方音樂的樂制,來整建自我民族內部的音樂紋理。</p> <p>東方音樂家欲望著西方,希冀能登上國際音樂舞臺;西方樂壇也期待從東方音樂家那裡,聽見西方人能夠「聽得懂」的「東方聲音」。在東 / 西方彼此期待、渴望之間,音樂本身被賦予極大的感官寓意,對西方人而言,帶有異國情調的音樂,尤其能夠吸引他們的目光;對於東方音樂家而言,這些「東方」的元素,卻是取自於不同民族風土的獨特聲音。</p> <p>本文聚焦臺灣近代音樂家江文也,以近年來新出版的傳記、日記和音樂作品全集,以及本論文作者近年於歐洲搜集的史料為分析佐證,探討江文也「屬於自己 / 東方的聲音」創作,如何引發西方樂壇對於「東方聲音」的想像。</p> <p>&nbsp;</p><p>The early twentieth century was a century that had the two global-scale World Wars between world powers across continents and oceans. Rising nationalism and increasing national awareness became a major political issue in general society. Eastern musicians reflected on the issue and diligently learned Western music system to get a remarkable grasp of it. Because they knew well the so-called Oriental music sounds must be rooted in the Western music theory to be able to compete among nations by international standards. On one hand, Eastern musicians desired to be seen and rival upon the world stage; on the other hand, Western musicians looked forward to hearing pure Oriental music sounds from the East. However, for Taiwanese composer Jiang, Wen-Ye, the Oriental music sounds are not the ones of a traditional and exotic concept. Traditionally, the Oriental music sounds derive its flavor from the pentatonic scale and use traditional Chinese musical instruments to play. It is under such circumstances Jiang, Wen-Ye compose beautiful musical forms that embody his love and respectful duty to the Taiwanese motherland throughout frequent international music events and competitions.</p> <p>&nbsp;</p>


Organizacija ◽  
2009 ◽  
Vol 42 (5) ◽  
pp. 189-197
Author(s):  
Peter Veber

An Overview of Models for Assessment of Organization VirtualityA virtual organization is a network of legally independent organizations and/or individuals that produce products and/or services based on a common business understanding. This new organization structure is posited as radical departure from the traditional, hierarchic, bureaucratic and co-located mode of organizing that dominated the twentieth century. In contrast, the characteristics of the new, virtual organization forms are seen to be dynamic, networked, distributed, digital, flexible, collaborative and innovative. The challenge, however, is to determine which organization as a subject employs virtual form and which not. The answer to this question is decidedly complex as most organizations have forms that are somewhere in between; therefore, it is usually only possible to determine how virtual one organization is on certain aspects. In the other words: what is the level of its virtuality? Several models for the assessment of organization virtuality have been developed by many different authors. The purpose of this paper is to investigate and present all the published models of virtual organization that are publicly available in the world literature. The strengths and weaknesses of all models found are presented, together with their mutual relations.


Sign in / Sign up

Export Citation Format

Share Document