Yusef Lateef's Autophysiopsychic Quest

Daedalus ◽  
2019 ◽  
Vol 148 (2) ◽  
pp. 104-114
Author(s):  
Ingrid Monson
Keyword(s):  
Visual Art ◽  
John Coltrane ◽  
Spiritual Self ◽  
Western Intellectual ◽  
Double Reeds ◽  
And Mathematics ◽  
The Way

Yusef Lateef's neologism for jazz was autophysiopsychic, meaning “music from one's physical, mental and spiritual self.” Lateef condensed in this term a very considered conception linking the intellectual and the spiritual based in his faith as an Ahmadiyya Muslim and his lifelong commitment to both Western and non-Western intellectual explorations. Lateef's distinctive voice as an improviser is traced with respect to his autophysiopsychic exploration of world instruments including flutes, double reeds, and chordophones, and his friendship with John Coltrane. The two shared a love of spiritual exploration as well as the study of science, physics, symmetry, and mathematics. Lateef's ethnomusicological research on Hausa music in Nigeria, as well as his other writings and visual art, deepen our understanding of him as an artist-scholar who cleared the way for the presence of autophysiopsychic musicians in the academy.

Poetic Trespass

2014 ◽  
Author(s):  
Lital Levy
Keyword(s):  
Twentieth Century ◽  
Visual Art ◽  
Prose Poetry ◽  
Old World ◽  
History And Literature ◽  
Political Boundaries ◽  
Depth Study ◽  
Emile Habiby ◽  
The Relationship ◽  
The Way

A Palestinian-Israeli poet declares a new state whose language, “Homelandic,” is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a “language plague” that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. This book brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine. More than that, the book presents a captivating portrait of the literary imagination's power to transgress political boundaries and transform ideas about language and belonging. Blending history and literature, the book traces the interwoven life of Arabic and Hebrew in Israel/Palestine from the turn of the twentieth century to the present, exposing the two languages' intimate entanglements in contemporary works of prose, poetry, film, and visual art by both Palestinian and Jewish citizens of Israel. In a context where intense political and social pressures work to identify Jews with Hebrew and Palestinians with Arabic, the book finds writers who have boldly crossed over this divide to create literature in the language of their “other,” as well as writers who bring the two languages into dialogue to rewrite them from within. Exploring such acts of poetic trespass, the book introduces new readings of canonical and lesser-known authors, including Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. By revealing uncommon visions of what it means to write in Arabic and Hebrew, the book will change the way we understand literature and culture in the shadow of the Israeli–Palestinian conflict.

If Art is Knowledge, Then …

1979 ◽  
Vol 23 (3) ◽  
pp. 284-294
Author(s):  
John H. Chambers
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Verbal Communication ◽  
The World ◽  
Thing In Itself ◽  
The Way

It is argued that visual art makes statements analogous to the statements of science, morals, etc. Such art statements are provided by entities like Guernica, The Fighting Temeraire, and pictures on the walls of the local gallery, and concern themselves with things-in-themselves. The whole point of art criticism is to make clearer this thing-in-itself. In the way that other sorts of statement shape the world, so art statements shape the world. We do not know the world and then superimpose art statements upon it; we know the world through the art statements. This thesis has curriculum implications. It indicates the need for art encounters and techniques of various sorts, since the knowledge of art statements can only be apprehended through engaging in art and from intense verbal communication with teachers about art and its qualities.

Women in science: the need for a global cultural change

2019 ◽  
Vol 15 (S367) ◽  
pp. 281-285
Author(s):  
Karen Hallberg
Keyword(s):  
Cultural Change ◽  
Current Situation ◽  
Women In Science ◽  
Cultural Aspect ◽  
Science Technology ◽  
Participation Of Women ◽  
And Mathematics ◽  
New Generation ◽  
Cultural Maturity ◽  
The Way

AbstractThis paper summarizes the talk given at this conference in which the cultural aspect of the low participation of women in science, mainly in STEM (Science, Technology, Engineering and Mathematics) areas, is emphazised. A few personal recollections will be presented and some some striking numbers to illustrate the current situation will be given. In addition, some thought provoking ideas on what is known as “neurosexism” are explicited and a tribute is made to three women that overcame the challenges posed to them in different times in history (including current times) and helped paved the way to the new generation. However, there is still a long way to go. The inclusion of women and of other relegated sectors of society in scientific and technological activities is an important pending issue which will be achieved when our society as a whole reaches the necessary cultural maturity.

Reading with the Fingers: Tactile Signs and the Possibilities for a Language of Touch

2016 ◽  
Author(s):  
Mark Paterson
Keyword(s):  
Writing Systems ◽  
Helen Keller ◽  
Blind Children ◽  
The Us ◽  
Literate Culture ◽  
And Mathematics ◽  
Reading System ◽  
The Way ◽  
Accidental Discovery

The accidental discovery in 1786 by Valentin Haüy that embossed script could be read by the fingers paved the way for the concrete development of a fully-fledged haptic reading system. The story of tactile writing systems is spurred in part by shame, a means to include the blind in literate culture. Haüy’s ‘An Essay on the Education of Blind Children’ of 1786 summarized his purpose: “to teach the blind reading, by the assistance of books, where the letters are rendered palpable by their elevation above the surface of the paper” (1894:9). Here the evolution of competing writing systems and their role in education and access to literature and mathematics is detailed, as Braille’s system spread to other countries including Britain and the US, and was famously endorsed by Helen Keller whose own remarkable story of reading and communicating through the skin is so compelling.

A Queer Sequence: Comics as a Disruptive Medium

PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 588-594 ◽  
Author(s):  
Ramzi Fawaz
Keyword(s):  
Family History ◽  
Physical Disability ◽  
Visual Art ◽  
First Century ◽  
Art Spiegelman ◽  
Graphic Narratives ◽  
Long Form ◽  
The Aesthetic ◽  
Teenage Sexuality ◽  
The Way

At first glance, Hillary Chute's Why Comics? presents itself as a chronicle of the heroic deeds of a Pantheon of creative gods. Across ten chapters, Chute tracks the aesthetic achievements of more than twelve world-renowned comics artists whose innovations in sequential visual art represent a range of human experiences, from wartime violence to teenage sexuality to queer family history to living with cognitive and physical disability. In Chute's narrative, such luminaries as Alison Bechdel, Art Spiegelman, Daniel Clowes, Joe Sacco, Lynda Barry, and Marjane Satrapi rise up from the vast landscape of comics production as artists whose bodies of work testify to comics's aesthetic diversity and sophistication. These typically erudite cartoonists work at a distance from mainstream comics and produce adult-oriented, long-form graphic narratives considered aesthetic masterpieces. “Although comics of all kinds are flourishing in the twenty-first century,” Chute explains early on in Why Comics?, “there has been a dramatic uptick” in the kind of “auteurist comics” produced by these cartoonists (18), who relish, in Clowes's words, the way the medium allows them to “control absolutely everything and make it … exactly what you're seeing in your own head” (qtd. in Why? 18). For Chute, it is this “singular intimacy of one person's vision”—best displayed in comics produced by sophisticated adult cartoonists writing and drawing for other adults–that underscores that comics are also for grown-ups (18). By now, we all should know this, but we have not learned the lesson well enough (or perhaps some just refuse to listen).

scholarly journals Editorial Board Thoughts: Arts into Science, Technology, Engineering, and Mathematics – STEAM, Creative Abrasion, and the Opportunity in Libraries Today

2017 ◽  
Vol 36 (1) ◽  
pp. 4
Author(s):  
Patrick Tod Colegrove
Keyword(s):  
Science Technology ◽  
The World ◽  
Jigsaw Puzzles ◽  
And Mathematics ◽  
The Way

By actively seeking out opportunities to bring art into traditionally STEM-focused activity, and vice-versa, we are deliberately increasing the diversity of the environment. Makerspace services and activities, to the extent they are open and visibly accessible to all, are a natural for the spontaneous development of trans-disciplinary collaboration. Within the spaces of the library, opportunities to connect individuals around shared avocational interest might range from music and spontaneous performance areas to spaces salted with LEGO bricks and jigsaw puzzles; the potential connections between our resources and the members of our communities are as diverse as their interests. Indeed, when a practitioner from one discipline can interact and engage with others from across the STEAM spectrum, the world becomes a richer place – and maybe, just maybe, we can fan the flames of curiosity along the way.

scholarly journals The foundational problem of logic

2013 ◽  
Vol 19 (2) ◽  
pp. 145-198 ◽  
Author(s):  
Gila Sher
Keyword(s):  
Difficult Problem ◽  
Philosophical Foundation ◽  
Formal Aspect ◽  
The World ◽  
The Common ◽  
Normativity Of Logic ◽  
And Mathematics ◽  
The Mind ◽  
Foundational Problem ◽  
The Way

AbstractThe construction of a systematic philosophical foundation for logic is a notoriously difficult problem. In Part One I suggest that the problem is in large part methodological, having to do with the common philosophical conception of “providing a foundation”. I offer an alternative to the common methodology which combines a strong foundational requirement (veridical justification) with the use of non-traditional, holistic tools to achieve this result. In Part Two I delineate an outline of a foundation for logic, employing the new methodology. The outline is based on an investigation of why logic requires a veridical justification, i.e., a justification which involves the world and not just the mind, and what features or aspect of the world logic is grounded in. Logic, the investigation suggests, is grounded in the formal aspect of reality, and the outline proposes an account of this aspect, the way it both constrains and enables logic (gives rise to logical truths and consequences), logic's role in our overall system of knowledge, the relation between logic and mathematics, the normativity of logic, the characteristic traits of logic, and error and revision in logic.

Kripkenstein and Mathematics as the Language of Nature

2020 ◽  
Vol 13 ◽  
pp. 130-140
Author(s):  
Nour Khairi ◽  
Keyword(s):  
Private Language ◽  
Mathematical Operation ◽  
Rule Following ◽  
And Mathematics ◽  
Skeptical Paradox ◽  
The Way

This paper addresses the skeptical paradox highlighted in Saul Kripke’s work Wittgenstein on Rules and Private Language. The skeptical paradox stands in the way of many attempts to fix meaning in the rule-following of a language. This paper closely assesses the ‘straight solutions’ to this problem with regards to another type of language; mathematics. A conclusion is made that if we cannot sufficiently locate where the meaning lies in a mathematical operation; if we cannot describe how it is that we follow a rule in mathematics, we ought to tread lightly in characterising it as the language of nature.

Indigenous approaches to the past: ‘Creative histories’ at the Hyde Park Barracks, Sydney

2020 ◽  
Vol 9 (1) ◽  
pp. 83-102 ◽  
Author(s):  
Kiera Lindsey
Keyword(s):  
Visual Art ◽  
The Other ◽  
Cultural Relations ◽  
Form And Function ◽  
The Past ◽  
Cultural Responses ◽  
And Function ◽  
The Way

This article discusses a recent art project created by the Wiradjuri and Kamilaroi artist Jonathon Jones, which was commissioned to commemorate the opening of the revitalized Hyde Park Barracks in Sydney in early 2020. Jones’ work involves a dramatic installation of red and white crushed stones laid throughout the grounds of the barracks, merging the image of the emu footprint with that of the English broad convict arrow to ‘consider Australia’s layered history and contemporary cultural relations’. This work was accompanied by a ‘specially-curated programme’ of performances, workshops, storytelling and Artist Talks. Together, these elements were designed to unpack how certain ‘stories determine the ways we came together as a nation’. As one of the speakers of the Artist Talk’s programme, I had a unique opportunity to experiment with what colleagues and I have been calling ‘Creative histories’ in reference to the way some artists and historians are choosing to communicate their research about the past in ways that experiment with form and function and push disciplinary or generic boundaries. This article reflects upon how these two distinct creative history projects – one visual art, the other performative – renegotiate the complex and contested pasts of the Hyde Park Barracks. I suggest that both examples speak to the role of memory and creativity in shaping cultural responses to Australia’s colonial past, while Jones' programme illustrates how Indigenous artists and academics are making a profound intervention into contemporary understandings of how history is ‘done’ in Australia.

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