scholarly journals From Program Music to Sonification: Representation and the Evolution of Music and Language

2017 ◽  
Author(s):  
Stephen Taylor
Keyword(s):  
Music Theory ◽  
The Other ◽  
Artistic Expression ◽  
Program Music ◽  
The Real ◽  
Music And Language ◽  
Common Thread ◽  
The Common ◽  
Cognition And Culture ◽  
Evolution Of Music

Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.

The Fundamental Imaginary Dimension of the Real in Merleau-Ponty’s Philosophy

2015 ◽  
Vol 45 (1) ◽  
pp. 33-52 ◽  
Author(s):  
Annabelle Dufourcq
Keyword(s):  
The Other ◽  
The Real ◽  
Other Hand ◽  
Mental Entity ◽  
The Common ◽  
Ontological Model ◽  
Imaginary Field ◽  
Mode Of Being

The common opposition between the imaginary and the real prevents us from genuinely understanding either one. Indeed, the imaginary embodies a certain intuitive presence of the thing and not an empty signitive intention. Moreover it is able to compete with perception and even to offer an increased presence, a sur-real display, of the things, as shown by Merleau-Ponty’s analyses of art in Eye and Mind. As a result, we have to overcome the conception according to which the imaginary field is a mere figment of my imagination, a mental entity that I could still possess in the very absence of its object. On the other hand, the presence of reality is never complete or solid: “The transcendence of the far-off encroaches upon my present and brings a hint of unreality even into the experiences with which I believe myself to coincide.” Therefore, first, the imaginary (initially regarded as a peculiar field constituted by specific phenomena such as artworks, fantasies, pictures, dreams, and so forth) has to be redefined as a special hovering modality of the presence of the beings themselves. Second and furthermore: is not the imaginary always intertwined with perception? Merleau-Ponty advocates the puzzling thesis that there is an “imaginary texture of the real.” What is the meaning of this assertion? To what extent will it be able to blur the classical categories without arousing confusion? Can we avoid reducing reality to illusion? Lastly, consistently followed, this reflection leads as far as to discover, in the imaginary mode of being, an ontological model (the ontological model?), the canon enabling Merleau-Ponty to think Being, an “Oneiric Being.” Thus we will venture the apparently paradoxical contention that the imaginary is the fundamental dimension of the real. The notion of “fundament” becomes indeed problematic and receives an ironical connotation, however this is precisely what is at stake in a non-positivist ontology. Existence “lies” in a ghost-like, sketchy and unsubstantial (absence of) ground, in a restlessly creative being that is open to creative interpretations. And there it finds the principle of the ever-recurring crisis that both tears it apart and makes it rich in future promise.

The Other Hawthorne

2008 ◽  
Vol 81 (4) ◽  
pp. 559-595
Author(s):  
Robert Milder
Keyword(s):  
The Other ◽  
The Real ◽  
Common Notion ◽  
The Common

With their fluent colloquial prose and curiosity about life's spectacle, Hawthorne's voluminous notebooks belie the common notion that temperament and talent led him to write works of allegorical romance rather than realism. The essay argues that Hawthorne cultivated romance not because he believed in its idealizing vision but rather because, extrapolating from his experience of “the real,” he didn't.

scholarly journals Attacks on the Judiciary: Undercurrents of a Political versus Legal Constitutionalism Dilemma?

2018 ◽  
Vol 21 ◽  
pp. 1-23
Author(s):  
Herbert Kawadza
Keyword(s):  
South Africa ◽  
Judicial Review ◽  
Unintended Consequences ◽  
The Other ◽  
The Political ◽  
Political Space ◽  
Common Thread ◽  
The Common ◽  
Political Backlash

A number of landmark judicial review decisions and the resultant political backlash are arguably to supportive of the claim that political and legal constitutionalism are entrenched in South Africa. The common thread in the legislature and executive's reaction to judicial review decisions is that government supremacy is under threat from legal constitutionalism. More specifically, there is a perception that courts are meddling in the political space through judgments that are aimed at weakening the government's authority and power. Nonetheless, such decisions have had an effect of reinforcing the judiciary's legal constitutional role of reviewing the lawfulness of the other branches' activities. There is need for strategies to minimize this tension as the continued antagonism can have unintended consequences such as the delegitimisation of the judiciary    

Some structures in teaching Solfeggio and Elementary Music Theory

2021 ◽  
pp. 316-321
Author(s):  
Irina Markovna Severina
Keyword(s):  
Music Theory ◽  
The Other ◽  
Elementary Music ◽  
Main Task ◽  
Logical Thinking ◽  
Logical Approach ◽  
Short Period ◽  
Long Time ◽  
The Common ◽  
Time To Learn

The article is devoted to the most common structures of intervals and chords, which are studied in the course of elementary music theory and mastered in practice in solfeggio lessons. The author has repeatedly encountered the fact that certain structures are explained out of system, and, as a result, they do not linger in the memory of students for a long time. On the pages of many textbooks, it is possible to find more or less disparate information. However, according to the author, the issue is not only the textbooks, but also the common way of teaching, when one chord is studied separately without connection with the other chords and/or intervals, then another one, and so on. This presentation of information seems unproductive: sometimes even numerous repetitions do not save the situation, and the material does not always fit in the heads of even the most diligent students. The author of this publication demonstrates how to combine seemingly heterogeneous sound structures into two large blocks and fit simpler structures into more complex ones. The article also shows some patterns in the construction and resolution of intervals and chords. A systematic and logical approach to the study of sound structures is indispensable, especially in the case of low-performing students, who, in a short period of time, do not have time to learn the material from textbooks, even with a strong desire. In the end, the author comes to the conclusion that the main task of theoretical disciplines is to contribute to developing the ear for music, and not only to develop mathematical and logical thinking.

Introduction

2019 ◽  
Author(s):  
Judith Mair ◽  
Gabby Walters
Keyword(s):  
Natural Disasters ◽  
Political Instability ◽  
Tourism Industry ◽  
The Other ◽  
Perceived Threat ◽  
Heavy Industry ◽  
Root Cause ◽  
Common Thread ◽  
The Common ◽  
Industry Sectors

Tourism has always been impacted by crises and disasters, and no tourism destination is exempt (Beirman, 2006). Tourism is particularly susceptible to natural disasters (hurricanes, earthquakes and bushfires amongst others), which can cause sudden and immediate damage and destruction to destinations and their infrastructure, as well as longer terms issues with reduced visitor arrivals, leading to knock-on employment problems (Huang et al., 2008). However, there are other types of man-made crises that can also affect the tourism industry, including the actual or perceived threat of terrorism or political instability within a destination. Additionally, while some crises may affect entire destinations, others are more specific, affecting only particular industry sectors or organisations. Finally, not all challenges for destination marketers arise suddenly. Many destinations struggle to attract tourists because they are perceived to be unattractive for some reason, perhaps as a result of the long-running presence of heavy industry. The common thread linking these various crises, disasters and challenges is the unfortunate effect that they have on the reputation and image of the destination or organisation involved. Faulkner (2001: 136) defined a disaster as “a situation where an enterprise or a destination is confronted with sudden unpredictable catastrophic changes over which it has little control”. A crisis, on the other hand, is considered to be “a situation where the root cause of an event is, to some extent, self-inflicted through such problems as inept management structures and practices or a failure to adapt to change” (Faulkner 2001, p.136). However, while there is an academic distinction between the term ‘crisis’ and ‘disaster’, they are often used interchangeably and in this book, both terms will be used.

The symptomatology of a surpassing disaster: Narrativization and temporality in the work of Walid Raad

Maska ◽  
2020 ◽  
Vol 35 (200) ◽  
pp. 84-101
Author(s):  
Kaja Kraner
Keyword(s):  
Standard Treatment ◽  
Arab World ◽  
The Other ◽  
Historical Documents ◽  
American Artist ◽  
History Of Art ◽  
Common Thread ◽  
History Of ◽  
The Common ◽  
The One

Since the 1990s, the common thread to artistic practices based on the collection, archiving and presentation of historical documents can be derived from what is happening with the space, time and the regimes of visibility and knowledge as part of digital reproductivity. Nevertheless, roughly two separate key approaches can be identified: construction approaches that are often designed as an intervention in the dominant historiographical practice, on the one hand, and approaches focusing on the study of infrastructural, epistemological and other conditions for the possibility of archiving and historicization in general, on the other. The latter approaches frequently question the standard treatment of documents that is most often based on the ability to trace their origin as well as on their presumptive expressive and narrative potentials. The article therefore analyses the approach to studying history adopted by Lebanese-American artist Walid Raad, drawing from the performance-lecture Les Louvres and/or Kicking the Dead, which is part of a broader project about “a history of art in the Arab world”. In the process of defining the specifics of Raad’s approach based on the concepts of “spaces of interrupted histories” and “self-historicization”, the article draws a comparison between artistic uses of documents in the context of former socialist countries and the Middle East or, more specifically, the Lebanese socio-political context. Instead of unifying both “spaces of interrupted histories” by focusing on narrativization and temporality in Raad’s work, I concentrate mostly on the differences.

Strategy and Strategic Alignment

2019 ◽  
Vol 12 (3) ◽  
pp. 201-213 ◽  
Author(s):  
Indrajit Mukherjee
Keyword(s):  
Strategic Alignment ◽  
The Other ◽  
Common Thread ◽  
The Common ◽  
Functional Areas

The article is written to elaborate the meaning of the term ‘strategy’ and the domain it covers. It presents the common views about what strategy is and explains the meaning of each of them. It also argues that one of the views, strategy as an overarching ‘alignment’, is a common thread running through most of the views. Two examples are given to explain this view better. The article is expected to help the reader appreciate the domain of strategy and link it with the other functional areas.

Value, Freedom, Responsibility

2018 ◽  
Author(s):  
Sophie Loidolt
Keyword(s):  
Ethical Issues ◽  
Phenomenological Approach ◽  
The Other ◽  
Common Thread ◽  
History Of ◽  
Affective Experiences ◽  
Ethical Approaches ◽  
The Common ◽  
Key Terms ◽  
Ethical Experience

This chapter traces the common thread running through the three main ethical approaches in the history of phenomenology: a personalistic ethics of values and feelings, an existentialist ethics of freedom and authenticity, and an ethics of alterity and responsibility. Although their topics and results may plainly differ, the chapter argues that what makes each of them a specifically phenomenological approach is that the key terms of subjectivity, experience, and intentionality become relevant for ethical argumentation. In this way, phenomenological approaches demonstrate how ethical issues can gain relevance for us in the first place. Furthermore, they elaborate on different forms of “ethical experience”—ranging from emotions (such as love) as a way of experiencing values, and affective experiences (such as anxiety) as a form of existential self-encounter, to experiences that exceed the realm of emotions and embrace the dimensions of speech and interaction (such as the experience of the other).

Reflections on a Troubled Experience in Malawi

2018 ◽  
pp. 141-153 ◽  
Author(s):  
Patricia P. Kelly
Keyword(s):  
Core Competency ◽  
The Other ◽  
Shared Purpose ◽  
Successful Work ◽  
Common Thread ◽  
The Common ◽  
And Behaviors

After more than two decades of what the author perceived as successful work in Malawi, she experienced a failed venture, for which she had held high hopes. This story recounts that experience and her reflection on what went wrong with a good idea. The reflection centers on her failure to account for one core competency and several other selected axillary values/attitudes, skills, and behaviors. The common thread throughout this reflection is that failure to collaboratively communicate in order to develop a shared purpose for a plan of action caused the project to fail. Without such a shared purpose, one or the other parties may lack the commitment to carry through.

scholarly journals Experimental researches in electro-magnetism

1837 ◽  
Vol 3 ◽  
pp. 181-184
Keyword(s):  
Acid Solution ◽  
Theoretical Investigation ◽  
The Other ◽  
Square Root ◽  
The Real ◽  
Conducting Wire ◽  
Series Of Experiments ◽  
The Common ◽  
The Wire ◽  
Experimental Researches

This communication consists of three parts. In the first part the author shows that the common deflecting galvanometer, in which the deflecting forces are assumed to be as the tangents of deflection, is founded on false principles, and consequently leads to erroneous re­sults. The wire forming the coil is of considerable thickness, and therefore there is no fixed zero from which the deflections can be reckoned. The length of the coil, also, being generally short, occasions another serious error, us the theoretical investigation is founded on the supposition of an indefinite length. In proof of the inaccuracy of the indications of the common deflecting galvanometer, the author took two elementary batteries, the plates of one being one inch square, and those of the other two inches. The tangents of the deflections of the needle (proper precautions having been taken for the equally free passage of all the electricity evolved in either case,) were very nearly as 1 to 2, though it is obvious that the real quantities of voltaic electricity were as 1 to 4. The author’s torsion galvanometer gave the degrees of torsion nearly as 1 to 4. Other experiments led to similar conclusions. The author then examines the laws which were supposed to connect the conducting power of a wire for electricity, with its length and diameter, and which, according to Professors Cumming and Barlow, varies directly as the diameter, and inversely as the square root of the length; but, according to MM. Becquerel and Pouillet, directly as the square of the diameter, and inversely as the length. He points out the false conclusions of M. Becquerel, and that he has, in fact, deduced the value of two unknown quantities from one equation j and that M. Pouillet having arrived at his through the fallacious indica­tions of the common deflecting galvanometer, they are equally erroneous. The author then hows that the law pointed out by Cumming and Barlow is, in ordinary cases, nearest the truth; though, under certain circumstances, the limits f even that law may be passed. Hence, and from a series of experiments with the torsion galvanome­ter, he arrives at the unexpected conclusion, hat there is no deter­minate law of conduction, either for the length or diameter of the wire, but that it must vary, in every case, with the size of he plates, and the energy of the acid solution used in exciting them. his con­clusion the author shows to be in accordance with the views of conduction which he had previously published; namely, that there is no actual transfer of electricity, but that all the phenomena result from the definite arrangement of the electric fluid essentially belonging to the conducting wire.

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