scholarly journals The Metaphor of Movement and Its Materialisation in Twentieth-Century Spatial Music

2020 ◽  
pp. 177-195
Author(s):  
Karolina Dąbek
Keyword(s):  
Twentieth Century ◽  
Edmund Husserl ◽  
The Body ◽  
Internal Space ◽  
Physical Parameters ◽  
Sound Sources ◽  
Actual Performance ◽  
Language And Music ◽  
The Subject ◽  
Physical Level

The article concerns the issue of experiencing spatial music. While discussing movement and space in music, Bohdan Pociej draws attention to two types of spatiality in a music work: the ‘internal’ and ‘external’ spatiality. The former derives from the nature of the sound material and the interaction of elements; it remains in the sphere of impressions and metaphors. The latter involves the physical parameters and actual performance of the piece. I demonstrate that the works of twentieth-century composers tend to break through from the internal space, transforming it into the external one. The issue of the body as a centre is present in the works of Edmund Husserl, Yi-Fu Tuan, Edward Hall, and others. The metaphor of movement in language and music has become the subject of research in cognitive science. In the context of spatial music, the metaphorical level coexists with the physical level. During the performance of a composition, listeners may enter into various relations with sound sources but always locate them with reference to their own bodies, which they treat as the centre. The two basic types of external spatiality – the perspective of the observer and the perspective of the participant – correspond to the two ways of understanding the metaphor of movement in music (internal spatiality) proposed by Steve Larson and Mark Johnson.

scholarly journals Metafora ruchu i jej urzeczywistnienie w muzyce przestrzennej XX wieku

2020 ◽  
pp. 177-196
Author(s):  
Karolina Dąbek
Keyword(s):  
20Th Century ◽  
Edmund Husserl ◽  
The Body ◽  
Internal Space ◽  
Physical Parameters ◽  
Sound Sources ◽  
Actual Performance ◽  
Language And Music ◽  
The Subject ◽  
Physical Level

The Metaphor of Movement and Its Materialisation in the Spatial Music of the 20th Century The article concerns the issue of experiencing spatial music. While discussing movement and space in music, Bohdan Pociej draws attention to two types of the spatiality of a musical work: the “inner” and “outer” spatiality. The first one comes from the nature of the sound material and the interaction of elements, it stays in the sphere of impressions, metaphors. The second one involves the physical parameters and the actual performance of the piece. The author notes that the works of composers of the 20th century tend to break through from the internal space, transforming it into the external one. The issue of the body as a centre is present in the works of Edmund Husserl, Yi-Fu Tuan, Edward Hall, and others. The metaphor of movement – concerning language and music – has become the subject of cognitive science. In the context of spatial music, the metaphorical level is combined with the physical level. During the performance of a composition, the listener may be have various relations with sound sources but always locates them concerning the location of their own body, which they treat as the centre. The two basic types of outer spatiality – the perspective of the observer and the perspective of the participant – correspond to the types of understanding of the metaphor of movement in music (internal spatiality) proposed by Steve Larson and Mark Johnson.

scholarly journals Pleasure and Duty

2013 ◽  
Vol 22 (2) ◽  
pp. 277-282
Author(s):  
JEFFREY WEEKS
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
The Body ◽  
Space And Time ◽  
Recent Scholarship ◽  
Temporal Unity ◽  
Political Boundaries ◽  
The Subject

Three obvious, superficially simple but actually intensely complex questions embodied in the title immediately confront the reader of Dagmar Herzog's important new book. First, what do we mean by the ‘sexuality’ that constitutes the subject matter? Second, what is demarcated by the Europe that provides the geo-political boundaries of this study? Third, does the ‘twentieth century’ provide a useful temporal unity for the narrative and analysis that is at the heart of the book? Such questions are not mere scholarly nit-picking or academic point scoring, but a tribute to the problematising of the body in space and time that has been a hallmark of the deconstructive and reconstructive energy of recent scholarship on the sexual, and that is now making a welcome entry into mainstream history.

scholarly journals Revealing the effect of rounded noise protection screens with finite sound insulation on an acoustic field around linear sound sources

2021 ◽  
Vol 1 (5 (109)) ◽  
pp. 16-22
Author(s):  
Vitalii Didkovskyi ◽  
Vitaly Zaets ◽  
Svetlana Kotenko
Keyword(s):  
Acoustic Field ◽  
Traffic Noise ◽  
The Body ◽  
Sound Insulation ◽  
Physical Parameters ◽  
Algebraic Equations ◽  
Sound Sources ◽  
Study Results ◽  
Almost All ◽  
Screen Model

This paper reports studying the reduction of traffic noise by rounded noise protection screens with finite sound insulation, that is, those that can pass sound. Almost all models of acoustic screens, which are examined by analytical methods, are either direct or such that disregard the passage of sound through the screen, that is, it is assumed that the screen sound insulation is non-finite. This approach made it possible to solve the problem for a simplified model analytically but made it impossible to analyze the required sound insulation of noise protection screens. In the current paper, the problem of investigating an acoustic field around the screen whose sound insulation is finite has been stated, that is, it was taken into consideration that a sound wave propagates through the body of the screen. In addition, a given problem considers a rounded screen, rather than vertical, which is also used in different countries. Such a problem was solved by the method of partial domains. This method has made it possible to strictly analytically build a solution to the problem by simplifying it to solving an infinite system of algebraic equations, which was solved by the method of reduction. The screen model was set by the values of the density and speed of sound in the screen material. This approach has made it possible to change the acoustic impedance of the screen material and thereby change the sound insulation of the screen. That has made it possible to quantify the effect of screen sound insulation on its effectiveness. It has been shown that the efficiency of noise protection screens with finite sound insulation is approaching the efficiency of acoustically rigid screens, provided that the screen's natural sound insulation is 13–15 dB greater than the estimated efficiency of the rigid screen. The study results could make it possible to more accurately assess the effectiveness of noise protection screens. Determining the screen acoustic efficiency would make it possible to set requirements for its sound insulation characteristics. That could make it possible to select the designs of noise protection screens with minimal physical parameters, such as thickness, weight, etc.

To the question of corporeal experience in Bernard Tschumi’s theory of architecture

2021 ◽  
pp. 25-32
Author(s):  
Svetlana Vladimirovna Petrushikhina
Keyword(s):  
Direct Contact ◽  
The Body ◽  
The Other ◽  
Internal Space ◽  
Architectural Space ◽  
Sensory Experiences ◽  
Other Hand ◽  
The Subject ◽  
The One

The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works –  the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.

Lacan’s Anamorphic Object

Janus Head ◽  
2011 ◽  
Vol 12 (2) ◽  
pp. 49-66
Author(s):  
Athena V. Colman ◽  
Keyword(s):  
Twentieth Century ◽  
World History ◽  
The Body ◽  
Childhood Development ◽  
Lived Body ◽  
Efficient Technology ◽  
The Uncanny ◽  
The Subject ◽  
Century Thought

Much of the current research on the constitution of subjectivity has been grounded on attempts to conceptualize the body without collapsing into reductive materialism or, to the contrary, theorizing a completely historical subject in the hope of doing ontological and ethical justice to formative specificity. With the rationalism-empiricism struggle put to bed by Kant’s transcendental turn and tucked in tightly by Hegel’s dialectic, the twentieth century was greeted with a maelstrom of world wars and efficient technology which produced the greatest number of corpses in the shortest time in world history; and still, to use Hegel’s famous saying, thought stood “at the crossroads of materialism and idealism.” Wrestling with articulating the interpenetrating quagmire of consciousness and body marked the beginning of twentieth century thought. For instance, Freud’s science of childhood development aligned emerging aspects of subjectivity with the very development of the body itself. In another effort, Husserl identified eidetic constructs which structured experience and, most importantly for our purposes, he distinguished between the phenomenal lived-body of the Lebenswelt known as Leib, and the anonymous thing-like quality of the body known as Körper. In this context, the corpse is the very opposite of the body insofar as the body is the site of the unfolding of subjectivity whereas the corpse seems to be the limit of subjectivity: a spatial-temporal marker of a subject which was. For instance, although it has been suggested that the corpse has somehow been emptied of subjectivity, is it not just as likely that it is we who are emptied before it? What is it about the corpse that disgusts us, intrigues us, fascinates us and reveals us to ourselves? The notion of the ‘uncanny’ is frequently invoked as a placeholder for the specific and irreducible character of such threshold experiences (such as encountering a corpse). But what is the structure of the uncanny? Moreover, what are the broader considerations regarding limit experiences as integral to the constituting of the subject?

Edusemiotics and Karl-Otto Apel’s transcendental semiotics

Semiotica ◽  
2016 ◽  
Vol 2016 (212) ◽  
pp. 179-198
Author(s):  
Marianna Papastephanou
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Unique Challenge ◽  
The Public ◽  
Binary Oppositions ◽  
The Subject ◽  
The Mind

AbstractThe semiotic turn and the twentieth century critique of the philosophy of consciousness presented a unique challenge and stressed the problematic status of old binary oppositions such as the subject versus the object, the mind versus the body, and the private versus the public. Karl-Otto Apel has responded to this philosophical occurrence with a theory of transcendental semiotics, a highly original endeavor to avoid mere reversals of older binary oppositions and pernicious consolidations of new hierarchies. This article aims to unravel Apel’s semiotics and to make it relevant to the philosophical-educational themes that preoccupy edusemiotics. After a brief overview of how Apel reworks the theories that influenced him into his own transcendental-semiotic account, the article focuses on some specific points adding more depth to the venture of associating Apel’s theory and edusemiotics.

scholarly journals Plotinus on the Soul's Omnipresence in Body

2008 ◽  
Vol 2 (2) ◽  
pp. 113-127 ◽  
Author(s):  
Gary Gurtler, S.J.
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
The Self ◽  
Body And Soul ◽  
The Subject ◽  
Unity Of The Self ◽  
The Way

AbstractIn examining Ennead VI 4[22], we find Plotinus in conflict with modern, i.e., Cartesian or Kantian, assumptions about the relation of soul and body and the identification of the self with the subject. Curiously, his images and exposition are more in tune with Twentieth Century notions such as wave and field. With these as keys, we are in a position to unlock the subtlety of Plotinus' analysis of the way soul and body are present together, with sensation structured through the body and judgment coming from the soul. The problem of the self concerns not only the unity of the self in terms of body and soul, but also how the self is constituted in relation to other selves, both keeping its individuality and sharing its experiences at the same time.

Telling Tales with the Body

2020 ◽  
pp. 59-81
Author(s):  
Fiona Macintosh ◽  
Justine McConnell
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
First Century ◽  
Ancient Greek ◽  
Art Form ◽  
Early Twenty ◽  
Theatrical Performance ◽  
The World ◽  
The Subject ◽  
Classical Ballet

Telling tales with the body was generally despised as a ‘lowbrow’ art form in the ballet world of the twentieth century—and there are still many practitioners and dance scholars who share this view. For most of the twentieth century, storytelling was not deemed to be something to which classical ballet should aspire. From the perspective of the new millennium, however, things look rather different. Stories are no longer eschewed by choreographers; indeed, it may well be possible to detect what one might term a ‘narrative’ turn in the classical ballet repertoire, where the ancient Greek and Roman epics are often providing the subject matter for these works. Chapter 4 explores the reasons behind twentieth-century ballet’s resistance to narrative and seeks to offer some thoughts on this early twenty-first-century narrative re-turn. This narrative eschewal in ballet matters because it has had profound repercussions beyond the world of dance, not least in the world of theatrical performance, where plotless dance is regularly invoked as a model for postdramatic theatre.

Poetic Hells and Pacific Edens

2004 ◽  
Author(s):  
Tim Fulford
Keyword(s):  
Twentieth Century ◽  
Church And State ◽  
Body Politic ◽  
The Body ◽  
Political Poetry ◽  
Proper Role ◽  
The Subject ◽  
Long Poems ◽  
Rival Models ◽  
Hearts And Minds

Abstract The subject of this article is the vicious public dispute between Southey and Byron—the well-known argument that centred on the two poets’ Visions of Judgment. Precipitated by Southey’s call for censorship of immoral literature and punishment of “Satanic” authors, the dispute was won—according to twentieth-century critics—by Byron, whose devastating parody undermined the credibility of Southey’s political poetry. It has long been understood that the dispute was about more than personal enmity, that what was in question was literature’s relationship to power and its proper role in the body politic. What has received less attention is the fact that the dispute concerned not only the domestic scene (literature’s relationship to Church and State in Britain) but also the widening sphere of empire. It is my intention to focus on the imperial sphere in what follows so as to reveal that Southey and Byron were arguing in and for a new context. They were setting out rival models of colonialist and Orientalist poetry for an age in which empire was being expanded and imperialism redefined. These models include two long poems that scholars have hitherto failed to relate to the poets’ dispute—Byron’s The Island (1823) and Southey’s Tale of Paraguay (1825). Both these poems look different when we understand their place in the poets’ contest to make their own colonialist representations of native peoples prevail over the hearts and minds of the British public.

scholarly journals Biological and Anthropological Foundations of Arnold Gehlen’s Political Theory

2021 ◽  
Vol 5 ◽  
pp. 161-172
Author(s):  
Sonia Horonziak
Keyword(s):  
Twentieth Century ◽  
Institutional Theory ◽  
Political Theory ◽  
20Th Century ◽  
Decision Processes ◽  
The Body ◽  
Human Biology ◽  
Cultural Challenges ◽  
The Subject ◽  
Biological Aspects

The problem of the body-soul separation has long been the subject of both philosophy and science. There is no doubt that man is a biological being. What is not certain is how human biology influences our actions and decision processes. Does it constitute humanity or is it just an excess. At the beginning of the twentieth century, Arnold Gehlen, who laid the foundations of the institutional theory, stated that man is a being marked by a deficiency. This statement was derived precisely from man’s biological deficiencies. At the same time, those influenced the human’s ability to create complex institutional systems. From the biological foundations of the analysis of man as a psychophysical being, Gehlen derived the need to establish a system of rules and norms that helps us to survive. This article will primarily discuss the biological foundations of Gehlen's theory. It will show how this 20th century anthropologist moved from researching the biological aspects of individuals to the cultural challenges faced by modern humans.

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