ADÈS AND SONATA FORMS

Despite an ever-expanding body of literature on Adès's engagement with the music of the past, his use of traditional formal models has attracted little critical comment. That which does exist privileges the relatively straightforward surface articulation of his musical forms over more nuanced accounts. In the case of Adès's sonata forms, this has had at least two consequences for our understanding of his music: first, that too strong an emphasis on syntactical groupings occludes what is happening discursively in the music; and second, that ‘textbook’ models are not the only formal tradition with which Adès's sonata forms engage. Rather, his sonatas bear traces of a rotational model that recalls the examples of Janáček and Sibelius. This article considers how Adès's sonata forms can be constituted not as neo-classical prefabrications but, a posteriori, as a practice that emerges across his career – from the Chamber Symphony and …but all shall be well to the Piano Quintet and Concerto for Piano and Orchestra – from an interaction between traditional syntactical groupings, thematic procedures and tonal plots.

THE SPREAD OF FARMING ECONOMY IN THE WESTERN MEDITERRANEAN: A SHORT REPLY TO AMMERMAN (2021)

ABSTRACTManen et al. provide here a reply to the critical comment published by A. J. Ammerman regarding their article “The Neolithic Transition in the Western Mediterranean: a complex and non-linear diffusion process—the radiocarbon record revisited,” published in 2019 in Radiocarbon. They also use this occasion to reaffirm the need to elaborate novel interpretive frameworks that combine both geo-chronological and cultural data.

Socialist Embarrassment

Viktor Tregubovich’s first movie, A Hot July, nearly wrecked his career at the outset, because it was a de-Stalinizing project begun mere months before the deposition of Khrushchev. Released after extensive production delays, the film had been reduced to mere tatters of the original endeavor. But Tregubovich rehabilitated himself with his gentle and offbeat movie about a tank battalion in combat, War Is War, and a series of remarkably diverse projects followed. Go If You’re Going provoked surprise at Lenfilm because it was a film comedy, and thus, his colleagues believed, a departure from Tregubovich’s established style. The laughter it provoked was decidedly uncomfortable, a point remarked (without enthusiasm) in studio discussions. Released after a significant delay, it became the subject of critical comment in a 1979 article by the deputy chairman of Goskino, Boris Pavlenok. Go If You’re Going is perhaps the nearest Lenfilm movie to the socialist “new wave” traditions of directors such as Jan Němec, a tribute to a filmmaking style that had resurfaced after nearly a decade in the cold.

Did F.A. Hayek Embrace Popperian Falsificationism ? A Critical Comment About Certain Theses of Popper, Duhem and Austrian Methodology

The author of this article argues that Hayek´s methodological outlook at the time he engaged in business cycle research was actually closer to praxeological apriorism than to Popperian falsificationism. A consideration of the Duhem thesis highlights the fact that even from a mainstream methodological perspective falsificationism is more problematic than is often realized. Even if the praxeological and mainstream lines of argumentation reject the Popperian emphasis on falsification for different reasons and from a different background, the prospects for falsificationism in economic methodology seem rather bleak. Key words: General methodology; Austrian methodology; falsificationism; Popper; Hayek; Duhem; Duhemian Argument; testing of Theories; meaning and Interpretation of econometric results; correlation and causality. JEL Classification: B20, C10, B23, A12, E32, B53, B40 Resumen: La perspectiva metodológica de Hayek a la hora de investigar el ciclo comercial se acercaba más al apriorismo praxeológico que al falsacionismo popperiano. Una consideración de la tesis de Duhem destaca el hecho de que, incluso desde una perspectiva metodológica común, el falsacionismo es más problemático de lo que se suele pensar. A pesar de que las líneas de argumentación praxeológicas rechazan el énfasis popperiano en la falsación por distintos motivos y desde un fondo distinto, las perspectivas del falsacionismo en la metodología económica no parecen ser nada prometedoras. Palabras clave: metodología general; metodología austriaca; falsacionismo; Popper; Hayek; Duhem; argumento duhemiano; prueba de teorías; significado e interpretación de resultados econométricos; correlación y causalidad.

Making and embedding humane technologies: can artistic practices provide normative guidance?

In this commentary, I raise one question and one critical comment about Rietveld’s normative claim that ‘artistic practices afford embedding technologies better in society’ (2019, p. 5). In what exact sense is this the case? It seems that Rietveld offers two interconnected but conceptually distinct answers to this question. The first focuses on art’s habit-breaking possibilities. The second concerns art’s ability to make the lived experiences of the stakeholders potentially affected by a given technology experientially concrete. I will discuss both points, and why I think more needs to be said about them.

Exhibiting Galicia: Problems of Interpretation and Other Reflections on the Permanent Exhibition at the Galicia Jewish Museum in Kraków

The purpose of this article is to offer a critical comment on the permanent exhibition of the Galicia Jewish Museum in Kraków. The exhibition is innovative in museological terms. It is not about the Jewish history of Galicia, nor is it arranged using conventional chronology, nor is it comprehensive. Rather it is divided into five sections, based on a five-part set of ideas, simple ideas intended to help visitors make sense of the complex realities surrounding the present-day situation of the Jewish heritage seventy-five years after the Holocaust. Let me now briefly outline how these five ideas are represented museologically, the five sections in which the exhibition is organized. The opening section directly presents the popular Jewish stereotype that post-Holocaust Poland is nothing but a vast Jewish graveyard. So this section of the exhibition consists entirely of the raw, shocking sight of desolation – for example, photos of ruined synagogues or ruined Jewish cemeteries. The 23 photos on show in this section include the appalling condition of the synagogue in Stary Dzików (a small town near the Ukrainian border) as it looked in the 1990s and of the devastated Jewish cemetery in Czarny Dunajec (a small town near the Slovak border) at that time. Emphasizing what has been lost by showing the Jewish past of Poland in ruins, and how in that sense the effects of the Holocaust on the built Jewish heritage are still visible, even today, is certainly a powerful and provocative way to begin an exhibition in a Jewish museum.