Music

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

Between medieval sapienza and the duty of silence...because it can be harmfull for other, takes care to transmit and inform in a cultural way.

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

Rolling Stones guitarist Keith Richards has argued that rock and roll happens from the neck down. In this contribution to The Rolling Stones and Philosophy, edited by Luke Dick and George Reisch, I draw on neuroscience to argue that, in the parlance of John Stuart Mill, rock and roll is both a higher and a lower pleasure.

Studi ini menganalisis kompilasi Those Shocking Shaking Days: Indonesian Hard, Psychedelic, Progressive Rock and Funk 1970–1978 (Now-Again Records, 2011) sebagai kasus konstruksi kategori historiografis melalui kurasi musik transnasional. Domain kontribusi penelitian ini adalah teori invented genre dan kanonisasi dalam sosiologi musik. Meskipun judul album secara akurat mencantumkan berbagai genre (Hard, Psychedelic, Progressive Rock, Funk), penelitian ini berargumen bahwa dalam diskursus global, keberagaman ini sering direduksi menjadi satu payung kategori: ”Indonesian Psychedelia”. Melalui analisis genealogis dan kuratorial, penelitian membuktikan bahwa pengelompokan ini (...) adalah konstruksi retrospektif. Sebelum kompilasi (pra-2011), tidak ada dokumentasi kontemporer yang menyatukan band-band berbeda genre ini (seperti funk Papua dan prog-rock Bandung) dalam satu gerakan koheren. Analisis musikologis terhadap elemen psychedelic mengungkap bahwa mayoritas lagu dalam kompilasi lebih dekat ke struktur hard rock atau funk konvensional, na- mun estetika produksi lo-fi menyatukan mereka di telinga kurator Barat. Kompilasi menciptakan kategori melalui tiga mekanisme: (1) Selection—memilih 20 band ber- dasarkan estetika lo-fi; (2) Framing—mengkonstruksi narasi koheren ”bawah tanah” melalui catatan sampul; (3) Materialization—memberikan legitimasi fisik. Studi ini berkontribusi pada sosiologi klasifikasi dengan menunjukkan bagaimana pasar musik global melakukan ”lumping” (penggabungan) genre yang berbeda demi kemudahan konsumsi eksotis. (shrink)

semiology of social and global transformations on public relations and, by consequence, of human intimacy.

actor progressing social life and scale on screen.

Anemia, the syntoms of a great disease in the heart of society.

Methodical Doubt is more kierkegaardian than cartesian.

from sensation to imposition of media tought.

for a better literature, to understand literary tradition in Portugal.

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to us as (...) contemporary music creators and consumers. (shrink)

The coherence metric κ(T,t) has been defined in prior work as the cross-modal synchronization between a substrate signal and the constraint-network expectation it should track. This paper does three things. First, it formalizes κ rigorously as a bounded, time-varying function on [0,1], specifying its operator definition, its domain-specific operationalization, and its measurement substrate. Second, it formalizes two derived quantities not previously specified: the integral ∫κ(T,t)dt over a time window, which we call the coherence reserve, and the derivative dκ/dt, which we (...) call the coherence velocity. Third, it demonstrates that the three quantities held simultaneously—κ(T,t), ∫κ dt, and dκ/dt—constitute a phase space portrait of the system’s dynamic coherence state, and that this portrait, applied without flinching, yields a single unified structural diagnosis across Alzheimer’s disease, cancer, and addiction: all three are accumulated phase state failures. They do not fail in the same tissue or at the same scale. They fail by the same operation. The pathology in each case is the progressive collapse of the coherence trajectory through a predictable sequence of phase states, each of which is measurable, each of which makes falsifiable predictions about clinical behavior, and none of which is located where the dominant treatment paradigm has been looking. (shrink)

Artificial creativity is presented as a counter to Benjamin’s conception of an “aura” in art. Where Benjamin sees authenticity as art’s critical element, generative artificial intelligence operates as pure inauthenticity. Two elements of purely inauthentic art are described: elusiveness and reflection. Elusiveness is the inability to find an origin-story for the created artwork, and reflection is the ability for perceivers to impose any origin that serves their own purposes. The paper subsequently argues that these elements widen the scope of artistic (...) and creative potential. To illustrate, an example is developed around musical improvisation with an artificial intelligence partner. Finally, a question is raised about whether the inauthentic creativity of AI in art can be extended to human experience and our sense of our identities. (shrink)

Contemporary musical ontology has become fixated on musical works, treating them as the primary—often exclusive—subject of metaphysical inquiry. This paper argues that such work-centrism is methodologically limiting. Musical work is a heterogeneous category that resists unified ontological treatment, while the very concept of a work proves historically contingent and practice-relative. Moreover, work-centrism leaves un(der)theorized vast ranges of musical phenomena that merit ontological consideration. These limitations are diagnosed from testing the work-centric methodology against four desiderata for an ontological theory of music, (...) each motivated by reflecting on musical phenomena and practices. I then propose a compositional approach to musical ontology, focused on musical elements (pitches, rhythms, motifs) and their interrelations under compositional operations, as a promising alternative. This approach not only meets the desiderata but also systematically tracks musical content—what makes something musical—thereby offering a stable foundation for philosophical theorizing about music as such. (shrink)

We propose a rigorous mathematical framework for modeling the interaction between the unconscious and conscious mind, inspired by Jungian analytical psychology. The unconscious is represented as a complex unit disk containing archetypal and shadow content, modeled via Ramanujan-type q-series. Consciousness is represented as the upper half-plane of complex numbers. A conformal mapping transforms unconscious content into conscious representation, establishing a structured pathway for individuation. Set-theoretical considerations guarantee bijection and cardinality consistency, while an embodied, recursive transfer function captures feedback and self-referential (...) structures analogous to Gödel, Escher, Bach. (shrink)

This study is aiming at analyzing extemporaneous methods of instructional speech in the context of the Naqshbandi Sufi Order and its parallels with improvised music as well as potential for modern educational purposes. Focusing on a processual analysis covering the flow of events in the communication and its environment, the work is using approaches applied in performance studies as well as improvised music, as well as cognitive science and psychological perspectives concerned with the mechanisms of the subconsciousness. Field research data (...) collected at the Naqshbandi lodge in Lefke/Cyprus as well as a considerable amount of recorded speech acts serve as material for the conducted qualitative content analysis. (shrink)

This chapter aims at pointing out the correspondences between the transformative Five Percenter process of self-cultivation outlined in the Supreme Mathematics and previous interpretations articulated and transmitted in the sapiential traditions of Islam, Christianity, or Taoism.

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based (...) on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

This paper explores how second-wave ubiquitous music (ubimus) practices can reanimate Hong Kong’s military and colonial histories, which have become absent in urban development. By transforming archival cartographic data of Hong Kong’s wartime sites into laser-etched discs to generate layered sonic textures, the paper introduces an evolving sound art project—Rings… Through Rings (2025)—aiming to reactivate the collective consciousness of the city’s historical sites. Through this project, participants become “audience-performers” who shape the sound via physical gestures and interpretive playback using turntables (...) and laser-etched discs. The work integrates sonic elements such as field recordings, composed material, ensemble improvisation, and real-time electronic music, all dynamically responding to audience actions, thereby treating physical heritage as an open and recursive becoming through ubiquitous musical practices. Lastly, this paper reflects on the social and cultural implications of this approach, arguing that ephemeral data, embodied listening, and open participation constitute an alternative ontological configuration of ubimus as memory, understood as an evolving, participatory practice of sonic recollection. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

2021 marks Dylan's 80th birthday and his 60th year in the music world. It invites us to look back on his career and the multitudes that it contains. Is he a song and dance man? A political hero? A protest singer? A self-portrait artist who has yet to paint his masterpiece? Is he Shakespeare in the alley? The greatest living exponent of American music? An ironsmith? Internet radio DJ? Poet (who knows it)? Is he a spiritual and religious parking meter? (...) Judas? The voice of a generation or a false prophet, jokerman, and thief? Dylan is all these and none. The essays in this book explore the Nobel laureate’s masks, collectively reflecting upon their meaning through time, change, movement, and age. They are written by wonderful and diverse set of contributors, all here for his 80th birthday bash: celebrated Dylanologists like Michael Gray and Laura Tenschert; recording artists such as Robyn Hitchcock, Barb Jungr, Amy Rigby, and Emma Swift; and 'the professors’ who all like his looks: David Boucher, Anne Margaret Daniel, Ray Monk, Galen Strawson, and more. Read it on your toaster! (shrink)

Introduction: This paper examines computer-generated art (CG-art) in the musical domain, diverging from the predominant focus of research on artificial intelligence (AI) generated images. Objective: To analyse two albums, I AM AI (2018) and PROTO (2019), produced with Artificial Intelligence (AI) under contrasting collaboration models. The former employs AI to generate instrumental stems complemented by human vocals, while the latter features AI-generated synthetic vocals layered over human-composed arrangements. Methods: Using a transdisciplinary framework (Cognitive Science, Art Theory and Computer Science), this (...) article assesses the status, the human-machine aesthetic evaluation, the AI’s creative potential, and the inorganic abstraction in the creative process of Taryn Southern’s I AM AI and Holly Herndon’s PROTO. Results: Both albums integrate AI significantly; however, neither qualifies as AI-generated artworks. The Recurrent Neural Networks (RNNs) used lack creative autonomy, functioning solely as instrumental tools without intrinsic algorithmic self-evaluation. Conclusions: These long-play records (LPs) are collaborative creations where AI serves as a tool with passive and hybrid aesthetic capabilities. Ultimately, the aesthetic realization of these works relies on human emotional projection, contrasting with the non-emotional and inorganic abstraction characteristic of the algorithms involved. (shrink)

This article applies Lacanian psychoanalysis to explore race as a psychotic structure, marked by delusion, paranoia, and symbolic failure. Focusing on the hip-hop genre, and the music of Kendrick Lamar, it examines how Lamar’s music exposes and unsettles racial certainties by emphasizing lack and doubt. Through an analysis of “Mortal Man”, and Lamar’s imagined interview with Tupac Shakur, the article highlights how silence and absence disrupt fixed racial meanings. It argues that dismantling racism requires confronting the libidinal and ideological investments (...) in race, while positioning Lamar’s work as a vital for a radical, anti-racist critique grounded in psychoanalytic theory. (shrink)

The Raven Philosophy: A Complete Gothic Philosophical System argues that Gothic music can function as a genuine medium of philosophical inquiry, and it derives from the musical corpus of the German dark rock band Mono Inc. a complete philosophical system addressing meaning, selfhood, community, suffering, authenticity, death, beauty, values, and knowledge. The governing claim, the Beautiful Darkness thesis, holds that Gothic music sustains philosophy because its aesthetic commitments are structurally isomorphic with the orientation of philosophy itself toward what exceeds, disturbs, (...) and transcends ordinary understanding. The mechanism through which the music performs this work is theorized as the Philosophical Attunement System (PAS), which models the multiplicative co-activation of the philosophical (Φ) and psychological (Ψ) functions described by the PsyPhi Helix of Êtresophologie, formalized as H(t) = [Φ(t) × Ψ(t)]^DH. The treatise is organized in six books. Book I asks what the Gothic is; Books II through IV take up the essential questions Who am I? Where do I come from? and Where am I going?; Book V treats art as philosophical praxis; and Book VI synthesizes the whole. Eleven albums, from Voices of Doom (2009) to Darkness (2025), are read as a developing philosophical corpus. The work develops seven integrated frameworks: the PsyPhi Helix, the Gothic Triad of Truth, Purity, and Beauty, the Causal Chain of Suffering, the Alchemy of Adversity, the Philosophical Game of Chess, the Consolation of Velora, and the Connect Four methodology of consilience. It engages Burke and Kant on the sublime, German Romanticism, Schopenhauer, Nietzsche, Kierkegaard, Heidegger, Sartre, Camus, Levinas, Merleau-Ponty, and Frankl, alongside Sufi, Buddhist, and Vedantic traditions of negation, and it tests its own claims against sustained objection through the method of Ockham's War. The treatise concludes with nine core positions and a vision of cultural renewal, La Nouvelle Renaissance, contending that philosophical depth exists where the academy has not looked and that Gothic consciousness, frequently pathologized, is better understood as a coherent philosophical configuration. (shrink)

In Taylor Swift’s “How Did it End?,” the narrator offers a series of explanations for how her relationship met its untimely demise. I argue that they fall into three categories of explanation that have been identified by philosophers of science: covering law explanations, probabilistic explanations, and causal explanations. Though the narrator knows enough about the breakup to offer explanations in all three categories, she laments at the close of the song that she still doesn’t understand how the relationship ended. This (...) chapter diagnoses her affliction as a fascinating epistemic phenomenon: Someone can know everything about why something happened without being able to see how the outcome was possible. As the song shows, this puzzlement can be maddening, giving rise to a distinctively epistemic sort of agony. But, as I argue, this is a malady with a cure. The needed resolution is for the narrator to seek out what philosophers have called a how-possibly explanation. (shrink)

This article investigates Black American Islam as a semiotically mediated New Religious Movement (NRM), hybrid in nature and emerging from conditions of racialized governance, state surveillance, and social marginalization. Focused on the intersection of NRMs and political environments, the work engages in the reconstruction of a historical and conceptual lineage between Black Muslim movements and their mediated negotiation by Hip Hop artists. Grounded in Hall’s model of encoding/decoding and Hebdige’s subcultural theory, the transition of Islam-inspired semiotic markers from esoteric subcultural (...) opacity to explicit orthodox adherence is demonstrated using historical analysis and close reading of symbolic expression in lyrics. The findings support a consideration of religious illegibility as aesthetic negotiation and strategy for political survival in circumstances of state scrutiny, with the subsequent consolidation of orthodox interpretations in Hip Hop signifying a recalibration of religious legibility in the securitized climate of a post-9/11 world. The contribution asserts that Black American Islam exemplifies NRMs’ instrumentalization of doctrinal elasticity and semiotic mediation in challenging socio-political surroundings, and its impact on negotiations of citizenship, political opposition, and religious identity. (shrink)

Anders Ackfeldt’s Islamic Themes in US Hip-Hop Culture represents yet another welcome example of the increasing scholarly attention being paid to the representation of Islam in popular culture. Combining his expertise in the history of religions and Islamic Studies with a range of tools stemming from Media Studies and social semiotics, Ackfeldt produces a multi-layered investigation into the Islamic symbolism and Muslim identities in U.S. hip-hop. Ackfeldt’s book portrays the religion as a creative resource for the articulation of social, cultural, (...) and political expressions, especially among Black American artists. (shrink)

Many fans of country music have endorsed the common and longstanding view that commerce erodes the authenticity of the music they love. However, historians of the genre are as clear as can be: the genre was invented by the entertainment industry for commercial reasons. One might conclude that the fans are simply mistaken, and are being duped by the very thing they protest. This essay aims to provide a more sympathetic reading of their complaint by reading it as an endorsement (...) of Martin Heidegger’s reflections on living authentically in the face of the commercialization of technology. To make this case, several meanings of authenticity must be disentangled, supporting the conclusion that fans tend to focus on commercially-crafted signifiers of authenticity at the expense of self-discovery that underlies the authenticity they desire. (shrink)

Artificial intelligence has long become a reality and presents us with new, complex ethical questions: How does AI reshape our understanding of humanity? Who bears responsibility for autonomous decisions? What are the implications of AI for media and culture, the world of labour, politics, sustainability, and surveillance? What impact does robotics have on human beings and psychological well-being? This volume provides concise answers and solid foundational knowledge on ethics in the context of apparently 'intelligent' machines. Through practical case studies, supporting (...) materials, and reflective questions, the book is ideally suited as a didactic guide for use in schools and higher education. (shrink)

“This is my voice. My weapon of choice (!)” Grace Jones’ iconic statement that doesn’t seek to weaponize antagonistically appropriately opened her concert at the Palace Foreshore stage at the Lower Esplanade, St Kilda, Monday night; a return to Melbourne (“Grace Jones does not simply return. She arrives”[1]) where her voice, her larger-than-life energy, her aura and charisma became symbolic weapons and tools by which she connected immediately and effortlessly with her audience. -/- .

In the 1970s, sappy love songs and prog rock had sucked the life out of people--the Sex Pistols acted to put life back into people. Their raucous stage performances both engaged their mass of followers and stirred their media detractors into a frenzy. This collection of essays analyzes the Sex Pistols as a major contributor to the creation of punk rock as a subgenre of rock and roll that soon became its own genre. Much has been said about England's most (...) influential punk band, but the essays in this collection each provide a distinct philosophical insight. Written by leading writers in punk music and its culture, these essays argue that the Sex Pistols created a profound and singular vision of punk rock, one paired with a social activism that was designed to shock and cause people to think. (shrink)

IGWEBUIKE: AN AFRICAN JOURNAL OF ARTS AND HUMANITIES VOL. 12. NO. 3. 2026.

In this article, I assert that the performer does not so much perform the work as perform the performance of the work, and this seemingly minor terminological difference carries with it significant shifts in perspective on music research. To support this thesis, I first analyze—in relation to a musical work and its performance—the concepts of properties and qualities commonly used in aesthetics. Then, I distinguish between the artistic and aesthetic qualities of musical performance based on the phenomenological analysis of five (...) recordings of Johann Sebastian Bach’s Invention 7 in E Minor BWV 778 in three different instrumental versions (András Schiff—clavichord, piano; Evgeni Koroliov—piano; Blandine Verlet—harpsichord; Glenn Gould—piano). In the final section before the conclusion I analyze the most problematic issues and concerns related to the previous considerations. The aim of this article is to develop a more precise research methodology—taking into account the traditions of analytic philosophy and phenomenology—that will allow for a better understanding of the nature of the aesthetic experience of musical works. (shrink)

It is commonly believed that the performer performs the musical work, but in this article, I argue that the performer performs not so much the work, but rather only its performance. To conduct my argument, I first analyse the object-related and event-related aspects of the musical work, taking into account Puy’s ontological theory of nested-types. Next, I examine the main artistic and philosophical intuitions regarding musical performance. In the subsequent part of the article, drawing upon Husserl’s concept of “appresentation”, I (...) assert that musical performance is not only a phenomenalization of the musical work but also its ontologization. Finally, I restate the phenomenological perspective in light of the established findings and current ontological debates, especially concerning the concepts of type/token, Platonism, work-as-performance, and nested-types theory. In the summary, I point out potential problems with the proposed thesis and present further research perspectives in the philosophy of music on musical performance. (shrink)

Experimental musical instruments have shaped musical culture from early acoustic innovations to contemporary digital systems. This article outlines key historical and technological developments, with emphasis on recent digital instruments and the communities that sustain them. It traces a shift from individual invention toward collaborative, infrastructure-based practice and highlights emerging concerns around accessibility, sustainability, and the preservation of experimental knowledge in contemporary musical instrument design.

Theoretical linguistics has made great strides towards a science of language, building on solid foundations in logic and analytical philosophy, and, more recently, joining forces with empirical sciences. Superlinguistics wants to expand the reach of our sophisticated theoretical and empirical linguistic toolkit by applying it to language-like objects beyond the scope of traditional linguistics, like gestures, comics, or music. [...] I offer four case studies showcasing different aspects of supersemantic approaches to multimodal sign systems. In 3.1 I discuss a compositional (...) semantic approach to the interpretation of facial expressions; in 3.2, I review theoretical approaches to emoji meanings from the recent supersemantics literature; in 3.3, I sketch a possible-worlds semantics for pictures and a discourse-level approach to comics; and in 3.4, I explore how to combine the different iconic semantic contributions of sound, music, and moving images in film in a unified formal semantics framework. (shrink)

Death metal in general and some of its subgenres more specifically (e.g. deathcore, slam/brutal death metal) notoriously tend towards hyper masculinist and misogynistic content. From band names (Prostitute Disfigurement) to song titles (“She Was Asking For It”, “Dead Before She Hit the Ground”, “Whore to a Chainsaw”, etc.), we see deeply problematic misogynist tropes. However, some bands and songs have pushed back against these long-standing “traditions” from inside the genre so consistently structured by them. I will argue that such bands/songs (...) fit exactly into José Medina’s (2013) epistemology of resistance. Using Medina’s terminology, bands like Venom Prison, Sanguisugabogg, Brojob, et al. function as “hermeneutical heroes” which “defy well-entrenched communicative expectations and dominant hermeneutical perspectives” (111). These can serve as death metal “heroes” which resist the misogyny which characterizes so much of death metal’s traditional and contemporary structure. Heavy metal, in all its varieties, has taken transgression as a central aim, theme, or desideratum. What we see, in these “heroes”, is a genre transgressing itself. In a way, such heroes continue in the transgressive function of the very genre against which they speak (or, growl, as it were). (shrink)

Certain paintings possess an immediacy through which a represented room seems to become perceptually present. Beginning with Velázquez’s Las Meninas and the interiors of Vermeer, this speculative essay examines the sensation that painting may act less as a representation than as a portal into another atmosphere and moment. -/- The argument moves through Proust’s recollection of rooms reconstituted in darkness, the imagined spaces awakened by early recordings of Enrico Caruso, and the inner visual field through which thoughts, memories and dreams (...) organise experience. It considers memory both as a form of recording and as the faculty that constructs the subjective arrow of time. -/- Working within an animistic understanding of reality, the essay proposes that people, places and events extend beyond their immediate physical boundaries through images, memories, recordings and later acts of attention. Painting may be the most powerful form of this extended participation because it records light after it has been selected, interpreted and reorganised by consciousness. It may therefore enable something of one perceptual moment to become active within another, opening a faint penumbra of participation across otherwise separate experiences of linear time. -/- Copyright © 2026 Ed Mirza. All rights reserved. Up to 300 words may be quoted for non-commercial academic, critical or review purposes with full attribution, including the author, complete title and DOI. All other reuse requires prior permission. (shrink)

An analysis of the Sex Pistols through the lens of the philosophy of Guy Debord.

Tabat is one of the cultures in the town of Atimonan, Quezon Province. It is a ritual practice that is commonly heard in the town during the Lenten season. It is mostly done by the elderly, such as cantor & cantores, tagasenyas, and musikero’s who repeatedly chant authentic compositions accompanied by rhythmic instrumentations. Tabat intersects with localized culture, music, and contextualized identity. Using a descriptive-historical study, this study explores the origin, communal participation, the music, the process, roles, and performance of (...) Tabat, contributing to the body of Philippine contextual and cultural preservation.While there is much research to pasyon, studies on the field of faith-based community ritual integrating music educational resources remain underexplored. The study argues that the concept of Tabat can be a potential resource in community-based music education. Given the situation, by exploring and examining Tabat, the study underscores diverse contributions and discourse to the body of music teaching, teacher training, and cultural heritages. From this context, integrating Philippine ritual in an education framework fosters societal engagement in education, awareness of identity, and conducive movement through music education. Ultimately, Tabat cannot be called “merely music” but can play an important role in bridging cultural ideology, contextual knowledge that will contribute to the Filipino musical pedagogy that will strengthen teaching education, especially in the Philippine music and cultural education. (shrink)

This article develops an integrated phenomenological, psychoanalytic, and philosophical psychology of artistic experience by bringing three theoretical resources into critical dialogue: Daseinsanalysis, existential psychoanalysis, and Niami's ontology of finite continuance. We conceptualize the artwork as a bounded experiential field—the artistic frame—within which habitual ways of perceiving, feeling, interpreting, and inhabiting the world can become temporarily unsettled without requiring immediate practical closure. Daseinsanalysis asks how being-in-the-world is disclosed, narrowed, or opened through the encounter; existential psychoanalysis attends to affective investment, unconscious conflict, (...) repetition, and defensive organization; finite continuance supplies an ontology of continuity-through-transformation, in which a finite subject remains continuous by retaining sufficient meta-capacity to reorganize its relation to determinations under constraint and erosive pressure. We argue that reconfigurative capacity is not a synonym for cognitive or psychological flexibility but a higher-order construct concerning whether the organization of possibility itself can be revised while sufficient continuity and agency are preserved. The model is differentiated across seven artistic forms— cinema, television series, theater, painting, music, sculpture, and architecture. Contemporary research on transformative aesthetic experience, predictive processing, aesthetic emotions, and arts and health is used as convergent evidence and conceptual constraint rather than empirical validation. We distinguish constructive from defensive aesthetic stabilization and propose a clinically cautious model in which aesthetic experience may support reflective openness when intensity remains proportionate to available regulatory and interpretive capacity. The article concludes with testable propositions and a research agenda for examining whether reconfigurative capacity is a theoretically distinct construct. -/- Keywords: aesthetic experience; Daseinsanalysis; existential psychoanalysis; phenomenology; imagination; finite continuance; artistic frame; transitional space; embodiment; reconfigurative capacity. (shrink)

The Wordless World: Musical Notes - Temporal Circular Linear Relationship Conserved.