Writing is central both to the medical diagnostic codification of disability and to disabled people’s efforts to interrupt, complicate, or disrupt dominant medical narratives. This Symposium, like the George Washington University conference from which it takes its name, creates space for diverse modes and genres of claiming authority regarding diagnosis and its cultural and material effects. “Queer” and “crip” interrogations of diagnosis illuminate its status as a cultural phenomenon, embracing culturally disavowed embodiments and embodied experiences as tools for diagnosing inegalitarian (...) social relations and opportunities for cultural interventions. This Symposium traces the workings of diagnostic normativity manifested in experiences such as “disruptive deafness,” unstable bodily materialities, pathologized grief and other forms of affective distress, and “surgical assemblages.” It presents a diverse array of compositions, articulated on each writer’s own terms, addressing a range of embodied experiences through multiple genres and voices, ranging from conversation transcript to scholarly essay, poetry, graphic memoir, and personal essay. Here, laypersons interrupt monologic medical diagnosis, claiming space to compose themselves. Together, the authors trace instances of corporeal “correction” back to the noxious agents, both environmental and political, that consistently breach the boundaries of corporeality. (shrink)

Nietzsche wrote in _Ecce Homo_, "That a psychologist without equal speaks from my writings—this is perhaps the first insight gained by a good reader.... Who among the philosophers before me was in any way a psychologist? Before me there simply was no psychology." _Composing the Soul_ is the first study to pay sustained attention to this pronouncement and to examine the contours of Nietzsche's psychology in the context of his life and psychological makeup. Beginning with essays from Nietzsche's youth, Graham (...) Parkes shows the influence of such figures as Goethe, Byron, and Emerson on Nietzsche's formidable and multiple talents. Parkes goes on to chart the development of Nietzsche's psychological ideas in terms of the imagery, drawn from the dialogues of Plato as well as from Nietzsche's own quasi-mystical experiences of nature, in which he spoke of the soul. Finally, Parkes analyzes Nietzsche's most revolutionary idea—that the soul is composed of multiple "drives," or "persons," within the psyche. The task for Nietzsche's psychology, then, was to identify and order these multiple persons within the individual—to compose the soul. Featuring all new translations of quotations from Nietzsche's writings, _Composing the Soul_ reveals the profundity of Nietzsche's lifelong personal and intellectual struggles to come to grips with the soul. Extremely well-written, this landmark work makes Nietzsche's life and ideas accessible to any reader interested in this much misunderstood thinker. (shrink)

There is a prominent line of work in natural language semantics, rooted in the work of Hamblin, in which the meaning of a sentence is not taken to be a single proposition, but rather a set of propositions—a set of alternatives. This allows for a more fine-grained view on meaning, which has led to improved analyses of a wide range of linguistic phenomena. However, this approach also faces a number of problems. We focus here on two of these, in our (...) view the most fundamental ones. The first has to do with how meanings are composed, i.e., with the type-theoretic operations of function application and abstraction; the second has to do with how meanings are compared, i.e., the notion of entailment. Our aim is to reconcile what we take to be the essence of Hamblin’s proposal with the more orthodox type-theoretic framework rooted in the work of Montague in such a way that both the explanatory utility of the former and the solid formal foundations of the latter are preserved. Our proposal builds on insights from recent work on inquisitive semantics, and it also contributes to the further development of this framework by specifying how the inquisitive meaning of a sentence may be built up compositionally. (shrink)

A network of aligned ontologies is a distributed system, whose components are interacting and interoperating, the result of this interaction being, either the extension of local assertions, which are valid within each individual ontology, to global assertions holding between remote ontology syntactic entities through a network path, or to local assertions holding between local entities of an ontology, but induced by remote ontologies, through a cycle in the network. The mechanism for achieving this interaction is the composition of relations. In (...) this perspective, we introduce the notions of local composable relations, which relate ontology entities belonging to the same ontology, remotely induced composable relations, which relate ontology entities belonging to remote ontologies through a path of ontologies and alignments in the network, and network induced local composable relations, which relate ontology entities belonging to the same ontology, but through a path of ontologies and alignments forming a cycle starting and ending at the same ontology, to characterize the logical consequences extracted from a network of aligned ontologies, and we propose a category-based methodology for detecting semantic inconsistencies in networks of aligned ontologies, which is based on contravariant representable functors and on the definition of two composition operators suitable for propagating local knowledge through the network. (shrink)

152 JOURNAL OF THE HISTORY OF PHILOSOPHY 34:1 JANUARY 1996 knowing." Absolute knowing is "the human community's coming to a reflective nonmetaphysical understanding of what it must take as authoritative grounds for belief and action..." . Since this involves us in a continuous dialectic, dialectic "does not end in absolute knowing; it begins the task of renewing itself" . From Hegel we get "a new paradigm for philosophy..." . The final chapter offers an account of the Philosophy of Right, and (...) takes up the question of the nature of the institutionalized structure of our modern social space. This account focuses on the ambiguity of "rights" and of "autonomy" and the conflicts that these ambiguities foster. Pinkard offers a penetrating and useful analysis of our modern social and political existence. Pinkard's treatment of the relativist questions arising from such a historicist posi- tion deserves our attention. The book also offers a very clear statement of a "nonmetaphysicar' perspective on Hegel. Finally, if Hegelian philosophy is "open" as Pinkard argues, then the relevance of Hegel for our present human condition is unquestionable; for we have our own social space to examine, a social space that has developed since Hegel. The dialectic, as Pinkard understands it to work -- that is, very differently from the mystified, metaphysicalized, dogmatic understanding the text- book versions have given us -- is our most powerful tool in coming to.. (shrink)

According to a number of approaches in theoretical physics, spacetime does not exist fundamentally. Rather, spacetime exists by depending on another, more fundamental, non-spatiotemporal structure. A prevalent opinion in the literature is that this dependence should not be analyzed in terms of composition. We should not say, that is, that spacetime depends on an ontology of non-spatiotemporal entities in virtue of having them as parts. But is that really right? On the contrary, we argue that a mereological approach to dependent (...) spacetime is not only viable, but promises to enhance our understanding of the physical situation. (shrink)

The anti-fascist cantata Il canto sospeso, the string quartet Fragmente - Stille, an Diotima and the 'Tragedy of Listening' Prometeo cemented Luigi Nono's place in music history. In this study, Carola Nielinger-Vakil examines these major works in the context of Nono's amalgamation of avant-garde composition with Communist political engagement. Part I discusses Il canto sospeso in the context of all of Nono's anti-fascist pieces, from the unfinished Fučik project to Ricorda cosa ti hanno fatto in Auschwitz. Nielinger-Vakil explores Nono's position (...) at the Darmstadt Music Courses, the evolution of his compositional technique, his penchant for music theatre and his use of spatial and electronic techniques to set the composer and his works against the diverging circumstances in Italy and Germany after 1945. Part II further examines these concerns and shows how they live on in Nono's work after 1975, culminating in a thorough analysis of Prometeo. (shrink)

This essay interview with Joan Tower is a meditation on the importance of composing, understood as a process larger than the making of new sound combinations or musical scores, suggesting that the compositional act is self-educative and self-forming. Tower's musical life, one of teaching and learning, one of composing and self-composing, is an exemplary model for a lifetime of risk, curiosity, and hard work. Her own struggles to balance the rich traditions that funded her growth as a composer with the (...) freedom to push against that tradition invite music educators to reflect upon the way that self-agency is found within this tension. (shrink)

This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art - instituted in the modern era - were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but (...) shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00" (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012-14), which it argues was an extension of his curatorial composing. (shrink)

This paper is concerned with the craft and pedagogy of contemporary classical composition, starting with an examination of French pedagogy as I received it from Darius Milhaud and Nadia Boulanger in the late 1950s. I discuss their different points of view (briefly the global approach to composition vs. what might be termed the molecular), the composition process itself (what can and what cannot be taught), counterpoint, improvisation, writer's block, the current state of the art, our sister arts, and the changing (...) audience for serious music, along with the increasing importance of improvisation and world music in composition and its pedagogy. I also discuss how many of these elements were implemented in the model Comprehensive Musicianship curriculum at San Diego State University that I designed and directed from 1967 until 2003. (shrink)

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire of•Bach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's (...) brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series. (shrink)

The Μικρομεγάλη Ἰλιάς, the first work written by John Tzetzes, consists of 1.676 hexameters and numerous scholia. It narrates the events of the Trojan war from the conception of Paris to the fall of the city. This paper analyses the poem and its structure. In his later Exegesis to the Iliad, Tzetzes states that the Μικρομεγάλη Ἰλιάς allows to “learn thoroughly, in every detail” the history of the war. Following this evidence, the macro- and the microstructure of the poem are (...) analysed in order to understand how Tzetzes structured his literary work and to what end. The last paragraph deals with the title Μικρομεγάλη Ἰλιάς. (shrink)

Light version of DEMO for composing epistemic models, based on the code for the ESSLLI 2008 course on Dynamic Epistemic Logic (see http:// homepages.cwi.nl/~jve/courses/esslli08/) extended with vocabulary information [EWS10]. Factual change is also treated. The piece ends with some examples: the muddy children, and hat puzzles, dealing with the interaction of perception and change [Eijar].

We take performers of classical music as producers of creative performances. We sometimes criticize a performer’s performance by saying ‘That is not what the composer wants’. The literature takes this kind of criticism, which I call ‘intentionalist criticism’, to be in tension with performers’ creativity—taking the criticism to be an attempt to restrict performers’ creativity by historical authenticity. This paper aims to construct a possible understanding of intentionalist criticisms according to which those criticisms are grounded in our respect of performers (...) as artists. Under this understanding, the point of intentionalist criticisms is that performers, who are pursuing the aesthetic beauty of a work, can produce an aesthetically better result by being open-minded to the perspectives of the composer who is also a serious pursuer of the work’s beauty. (shrink)

Dans la série de principes auxquels un Mémoire pour Gabriel Cramer rédigé par Condillac début 1747 ramène le système monadologique de Leibniz, le principe de l’ingrédience de la matière par les êtres simples ou monades échappe à la critique. Condillac accorde le principe [P1] les monades sont les premiers éléments de la matière. Il rejette seulement les deux principes subalternes [P2] les monades ont un principe interne de tous leurs changements et [P3] chaque état passager d’une monade représente sous un (...) certain point de vue l’univers, qui sous-tendent la notion de perceptions inconscientes. Composée dans la même période, la dissertation anonyme Les Monades est tout entière organisée en vue de la démonstration par Condillac en personne de la vérité de la thèse monadologique il y a des composés, donc il y a des êtres simples et de son corrélat, le principe la matière a pour éléments des êtres simples. Une analyse minutieuse des procédés argumentatifs déployés dans Les Monades permet d’interpréter cette défense de la thèse monadologique comme une remise en cause par Condillac en 1747 de l’hétérogénéité qu’il a maintenue en 1746 dans l’ Essai sur l’origine des connaissances humaines entre l’étendue et les qualités dites secondes. En donnant en son nom propre une preuve (opposée à celle par la raison suffisante dans l’ Ontologia de Wolff) de la vérité de la thèse monadologique, Condillac essaie de fonder une parfaite phénoménalisation de l’étendue. La dissertation Les Monades ne doit pas être vue simplement comme un préliminaire à la critique des systèmes abstraits dans le Traité des systèmes de 1749. La tentative d’une monadologie réformée dans la dissertation de 1747 marque le commencement d’une interrogation sur l’idée d’étendue appelée à se poursuivre dans le Traité des sensations de 1754. (shrink)

This essay explores the role of music composition within the curriculum of a typical small liberal arts college and the faculty composer's role(s) in facilitating the study of composition. The relationship between composition and campus performance is discussed, particularly in light of the increased emphasis on performance in formerly all-male colleges (Amherst, Williams, Bowdoin, Dartmouth, and so on) after the advent of coeducation in the 1970s. Other topics include teaching strategies for introducing non-major students to composition, the rise of interest (...) in non-Western music (with resulting influence on student composers), and the utilization of visiting performers/composers. (shrink)

Richard Levins’ distinction between aggregate, composed and evolved systems acquires new significance as we recognize the importance of mechanistic explanation. Criteria for aggregativity provide limiting cases for absence of organization, so through their failure, can provide rich detectors for organizational properties. I explore the use of failures of aggregativity for the analysis of mechanistic systems in diverse contexts. Aggregativity appears theoretically desireable, but we are easily fooled. It may be exaggerated through approximation, conditions of derivation, and extrapolating from some conditions (...) of decomposition illegtimately to others. Evolved systems particularly may require analyses under alternative complementary decompositions. Exploring these conditions helps us to better understand the strengths and limits of reductionistic methods. (shrink)

A paradigm shift occurred in musical culture in the early nineteenth century, whereby revered old works—newly called “classics”—began to rival contemporary ones as the guiding authority over taste. This article explores the less well-known composers found on programs in the period when classical repertories were becoming established. A kind of professional collegiality developed during this period on concert programs among pieces of diverse age and taste, reaching far beyond the iconic composers (now seen by most of us to (...) have been Haydn, Mozart, Beethoven, Schubert, Schumann, and Mendelssohn). Many of the “other” composers came from Italy, France, or Britain and became famous for opera selections and songs, some termed “popular,” and a substantial number of their pieces were performed throughout the nineteenth century. The present-day narrative of music history has canonic blind spots for composers then widely performed—Louis Spohr, Thomas Arne, Giovanni Viotti, Etienne-Nicolas Méhul, George Onslow, Louise Farrenc, and Robert Franz, for example. To understand musical life of that time, it is necessary to rethink the language of canon and canonization. The concept of canonization and the concept of the masterpiece have narrowed musical thinking harmfully. We need to look back at the fruitful collegiality that existed between canonic and contemporary music in the early nineteenth century, involving as it did a wide array of composers and tastes not yet bound by rigid assumptions about supposed “levels” of taste. (shrink)

Recent work in supersemantics and in the semantic interpretation of prosody has showed that non-words (gestural, prosodic an iconic elements) can make truth conditional contributions. This paper contends that the way that they make their contributions—the way that they are integrated into semantic representations—calls into question foundational assumptions about how semantics works. I explore the case of a prosodic contour that can act as an intensifier (a word like ‘very’ or ‘really’) and argue that its compositional behaviour indicates that it (...) is integrated into sentence meaning in a secondary, dependent way and that this reveals a novel form of layering in semantic interpretation. (shrink)

Why should musical compositions and artistic images be included among the types of expression covered by free speech principles? One way to answer this question is to show how expression in nonverbal media can be functionally similar to other types of verbal expression. But this leaves us with an intuitively unsatisfying explanation of why free speech principles cover nonverbal creative expression that does not functionally emulate literal speech. In this article, as an alternative justification, we develop and defend the idea (...) that musical and pictorial expression‚ much like literal speech, can be media through which people think aloud, as opposed to mere tools for the transmission of thought. We use this proposal to provide a more robust justification for including nonverbal creative expression in the scope of free speech coverage, and we outline some of the practical policy implications that come with adopting this justificatory strategy. (shrink)

Mereological atomism is the thesis that everything is ultimately composed of atomic parts, i.e., parts lacking proper parts. Standardly, this thesis is characterized by an axiom that says, more simply, that everything has atomic parts. Anthony Shiver has argued that this characterization is satisfied by models that are not atomistic, and is therefore inadequate. I argue that Shiver’s conclusion can and ought to be resisted, for the models in question are atomistic in the intended sense, and even though the standard (...) characterization does not say that everything is composed of atoms, it implies so. If there is a sense in which the relevant models are problematic, it lies elsewhere. (shrink)

This essay brings the work of Isabelle Stengers into the fold of feminism to propose a feminist politics of the earth that disrupts the fantasy of human exceptionalism underpinning much Anthropocene discourse. I begin by situating Stengers’s political use of Gaia theory in current debates on the Anthropocene. Next, I show how Stengers’s reworking of Gaia helps in reconsidering the relations between two bodies of feminist theory—Deleuzian feminism and Marxist ecofeminism—that are rarely brought into conversation. On this basis, I explore (...) what a feminist politics of composition with the earth might look like. (shrink)

Combining typical knowledge to generate novel concepts is an important creative trait of human cognition. Dealing with such ability requires, from an AI perspective, the harmonization of two conflicting requirements that are hardly accommodated in symbolic systems: the need of a syntactic compositionality (typical of logical systems) and that one concerning the exhibition of typicality effects (see Frixione and Lieto, 2012). In this work we provide a logical framework able to account for this type of human-like concept combination. We propose (...) a nonmonotonic Description Logic of typicality called TCL (Typicality-based Compositional Logic). (shrink)

The postmodern 'dismantling' of the self is often regarded, in sensationalist terms, as threatening to undermine most if not all of our familiar ideas concerning philosophy and morality. This is so because in challenging our 'commonplace' concept of what it is to be a person - a concept with a heavy Cartesian legacy - it also challenges the standard visions of how we stand, or fail to stand, as knowers in relation to reality and causes upset to the grounds for (...) many of our ethico-political practices. (shrink)

• We study a new composition operation on (epistemic) multiagent models and update actions that takes vocabulary extensions into account.

Ingarden’s official ontology of states of affairs is by no means reductionist. According to him there are states of affairs, but they are ontologically dependent onother entities. There are certain classical arguments for the introduction of states of affairs as extra entities over and above the nominal objects, that can be labelled “the problem of composition,” “the problem of relation” and “the problem of negation.” To the first two Ingarden proposes rather traditional solutions, while his treatment of negation proves to (...) be original and interesting. Ingarden doesn’t deny the existence of negative states of affairs altogether, but he (i) accepts only a restricted group of them and (ii) ascribes to them an extremely weak mode of being. Negative states of affairs are construed as supervenient entities, and their supervenience-basis involves two factors: on the one hand the appropriate positive states of affairs, and on the other hand certain mental acts of conscious subjects. They enjoy thus a curious “half-subjective” mode of being. (shrink)

An excerpt from Sergei M. Eisenstein's memoirs describing a night visit to the museum of Chichén Itzá in Mexico is set forth as a real life example reflecting, both from a visual and theoretical perspective, the architecture of Aby Warburg's Bilderatlas Mnemosyne and his concept of Denkraum. Drawing upon Warburg's own writings and F. T. Vischer's theory of symbol, the paper looks at Eisenstein's experience at the museum as highlighting the dynamic relation between man's religious/magical and scientific/rational psychic poles, and (...) the in-between space of thought inherent to the concept of Denkraum and visually represented by the empty dark intervals separating the images in the Bilderatlas. Adding significance to its argumentation, the paper also hints at an affinity between Eisenstein's film montaging and Warburg's image assembling criteria. (shrink)