In lieu of an abstract, here is a brief excerpt of the content:Overtones:A CollagePaul Youngquist (bio)Mom leans against the keyboard of the old upright piano in the den. She puckers her lips and gently fingers the valves. A couple of times a month, she frees her trumpet from the purple velveteen lining its case—out of love or frustration I can never tell. She stares hard at the bell, pointed somewhere near my feet. She inhales deeply, pressing the silver mouthpiece (...) to her crumpled lips. A silent moment passes—torn by a noise pitched past the sun, a shrieking flare sound. Another follows and another, bright glissandos blinking out somewhere below middle C. They shatter everything I know about her. Everything I thought I knew. What sound was that, what cry? What aspiration to be free? After those initial stabs, she falls into familiar melodies: "Bugler's Holiday" by Leroy Anderson, maybe, or "When the Saints Go Marching In." I'm unsettled for the rest of the day.Trumpeter Don Cherry's sound unsettled me too. I was much older when I first encountered it on Ornette Coleman's The Shape of Jazz to Come. It took me back to Mom's cries. I heard her sound in his: bright, high, and transient: less pitch than smudge, transmitting unknowable overtones. On "Lonely Woman," for instance. Cherry states the plaintive melody in hazy unison with Coleman, blurs the third note, wavers and plays his peculiar temper, untimely and free to move beyond the platitudes of harmony until, after Coleman's baffled cry, he parts company to play a sixth above (if such language matters, and it doesn't), descending in half steps to resolve (not happily) on a minor third, Cherry now pitched below. Their unison breaks apart to reconverge, and the brief bridge feels like a heaving between sobs. This isn't music. It's too raw for the repartee of bebop or the sociability of swing. But everybody can feel it, which explains the scandal of Coleman and company's extended appearance in late 1959 at the Five Spot in New York's East Village. Writing in the New York Times Magazine years later, Joseph Hooper likened it to the furor erupting after Stravinsky's Paris premier of "The Rite of Spring" in 1913. In an interview with Terry Gross, Cherry remembers everyone who was musically anyone being there—from Leonard Bernstein to Thelonious Monk—to witness the sacrilege. The implacable trickster Charles Mingus appeared one [End Page 133] night with Phineas Newborn, a keyboard virtuoso famous for his perfect pitch. Newborn sat and stared at his cufflinks. He never played a note. After the set, Mingus barreled onto the stage and, with his long arms and big hands, crashed all the keys. "That's where it is," he bellowed. "It's all there." Everywhere and nowhere. Cherry and Ornette decentered intonation. They distempered tradition's scales. Afflicted with perfect pitch, Newborn couldn't follow their cries and whispers. They flew free from the comforting staff. Still you feel them, hear their immeasurable sound.Don Cherry: "I've always been on the outside, and that's a good quality for the music to have, like the wind in your face."Cherry's mother Daisy gave him his first horn when he was fourteen. It breathed life into him, offering a way to express sounds his body harbored. Born in Oklahoma City in 1936 to "Negro-Choctaw Indian parents" (his words—his mother's mother was half native), Cherry heard gospel, blues, and Indian songs from the start. The family's move to the Watts neighborhood of Los Angeles in 1940 only multiplied the sounds of diverse ethnicities mixed with the rumble of jazz from the Cherry Blossom, his father's club, where Don and his sister sometimes danced for dimes. His horn funneled all this sound—all the music he'd ever make—through a peculiarly powerful feeling: "that feeling to me, through as much music as I've learned, I still remember just that feeling when I first got that horn." What feeling exactly? "Infant happiness" (in-fant, not speaking). The feeling of life before language: "infant happiness, infant happiness, beautiful! That's what music is really... (shrink)

On Gandhian philosophy, socialism, and communism.

Why is a red face not really red? How do we decide that this book is a textbook or not? Conceptual spaces provide the medium on which these computations are performed, but an additional operation is needed: Contrast. By contrasting a reddish face with a prototypical face, one gets a prototypical ‘red’. By contrasting this book with a prototypical textbook, the lack of exercises may pop out. Dynamic contrasting is an essential operation for converting perceptions into predicates. The existence of (...) dynamic contrasting may contribute to explaining why lexical meanings correspond to convex regions of conceptual spaces. But it also explains why predication is most of the time opportunistic, depending on context. While off-line conceptual similarity is a holistic operation, the contrast operation provides a context-dependent distance that creates ephemeral predicative judgments that are essential for interfacing conceptual spaces with natural language and with reasoning. (shrink)

On the life, works and philosophy of Guru Nanak, 1469-1538, 1st guru of Sikhs.

"Loss of Innocence explores the sunny, innocent mood of post-War America and the budding skepticism that began to creep into the minds of an overly-credulous public in the 1950s. Taking the quiz show scandals of the 1950s and the U-2 spy incident of 1960 as examples, the book argues that these two events shook the public and began to erode their blind faith in government and institutions, creating a credibility gap that haunts us to this day"--.

Although Plotinus’ two treatises on beauty could be taken to reflect an evolution in his thought, a careful examination shows that he consistently argues for a conception of beauty as the illuminated unity in multiplicity of the Intellect.

Concepts are basic features of rationality. Debates surrounding them have been central to the study of philosophy in the medieval and modern periods, as well as in the analytical and Continental traditions. This book studies ancient Greek approaches to the various notions of concept, exploring the early history of conceptual theory and its associated philosophical debates from the end of the archaic age to the end of antiquity. When and how did the notion of concept emerge and evolve, what questions (...) were raised by ancient philosophers in the Greco-Roman tradition about concepts, and what were the theoretical presuppositions that made the emergence of a notion of concept possible? The volume furthers our own contemporary understanding of the nature of concepts, concept formation, and concept use. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details. (shrink)

La filosofía analítica parte del presupuesto de que muchos de nuestros errores se deben al uso incorrecto del lenguaje. El lenguaje dificulta entender los problemas que planteamos y genera, muchas veces, laberintos de los que resulta difícil escapar. Los problemas no son, en ocasiones, más que problemas lingüísticos devenidos del uso impropio de las palabras. La filosofía analítica propone examinar rigurosamente los términos empleados y las expresiones utilizadas. Por esta razón, es necesario estudiar las estructuras lingüísticas con el fin de (...) inquirir las posibles paradojas. El uso del lenguaje tiene repercusión sobre nuestra forma de entender el mundo. Emprender el estudio la evolución seguida por Ludwing Wittgenstein del análisis del lenguaje en su labor laboriosa pero fascinante. Por una parte, ha obtenido importantes resultados en el plano terapéutico y práctico y, por otra, su mismo esfuerzo de reagrupar estos resultados surgidos de las investigaciones sobre el lenguaje es cada vez más valioso. (shrink)