We interviewed Galileo Morandi, a young Italian architect working in a research project on architecture and new technologies and author of several publications about the relation between city, territory and project. The discussion starts and finishes in a place where Morandi studied and worked, Dubai – example of a city in rapid growth and in its way iconic representation of the new globalized cities – passing through Milan and Los Angeles, the new Chinese town and a village in the mountains. (...) The role played by city plans allows to discuss the contemporary city between an architectural perspective and a political awareness. The result is a first partial experiment to connect different urban perspectives. (shrink)

ABSTRACTA close reading of Capitalism, Socialism and Democracy underscores Schumpeter's critique of elite political capacities. Given the neglect of this critique in contemporary scholarship, it might warrant a revision of our understanding of “Schumpeterianism.” To notice the critique of elites, we need to read Part IV in the context of the work as a whole, and with greater sensitivity to the sarcasm, irony, and humor that permeate the book. Such a reading produces a fundamentally altered understanding of Schumpeter's contribution to (...) democratic theory. (shrink)

This article reinterprets Schumpeter’s theory of entrepreneurship in a decidedly un-“Schumpeterian” way, and argues that continued emphasis on Schumpeter’s alleged glorification of the entrepreneur constitutes a missed opportunity for democratic critics of capitalism and neoliberalism. I demonstrate that Schumpeter did not exalt the individual entrepreneur as the paradigm for economic and political leadership in capitalist societies, and I show that he offers a surprisingly robust resource for reconceptualizing entrepreneurship. Schumpeter theorized entrepreneurship: (1) as a phenomenon that could not be exemplified (...) by either individual persons or strictly private entities; (2) as a conceptual mechanism for analyzing change in the history of capitalism; and (3) even as evidence that political and economic leadership should not be conflated in modern democratic societies. By contextualizing Schumpeter’s discussions of the entrepreneur, I suggest that a reconsideration of Schumpeter’s actual theory of entrepreneurship would invigorate contemporary debates about the role of leadership in capitalist economies and liberal-democratic polities. (shrink)

Institutions are the formal or informal 'rules of the game' that facilitate economic, social, and political interactions. These include such things as legal rules, property rights, constitutions, political structures, and norms and customs. The main theoretical insights from Austrian economics regarding private property rights and prices, entrepreneurship, and spontaneous order mechanisms play a key role in advancing institutional economics. The Austrian economics framework provides an understanding for which institutions matter for growth, how they matter, and how they emerge and can (...) change over time. Specifically, Austrians have contributed significantly to the areas of institutional stickiness and informal institutions, self-governance and self-enforcing contracts, institutional entrepreneurship, and the political infrastructure for development. (shrink)

The present work looks at what we call “the multiverse of quantification”, where visible and invisible numbers permeate all aspects and venues of life. We review the contributions of different authors who focus on the roles of quantification in society, with the aim of capturing different and sometimes separate voices. Several scholars, including economists, jurists, philosophers, sociologists, communication and data scientists, express concerns or identify critical areas of our relationship with new technologies of ‘numericization’. While mindful of the important specificities (...) of the different families of quantification, we use our broad and holistic canvas to explore possible spaces for a more systematic investigation of incumbent and novel quantifications, as to increase communication among disciplinary communities, and among these and society, in the pursuit a democratic agency and self-defence. (shrink)

In the romantic period, there emerged a lot of piano works with colorful creation methods, which brought people infinite enjoyment of beauty and triggered countless discussions. Starting from the Romantic period, this paper analyzes the aesthetic characteristics of piano art, discusses its aesthetic essence, and traces its development source, aiming to deepen the public's cognition of piano art, strengthen the importance of piano art, give play to the influence of art, let aesthetics penetrate into the public (...) and enrich the emotional experience of the public. Guided by the dialectical materialist philosophy of Hegel, who is the master of classical philosophy, this paper analyzes the philosophical basis of his theory of aesthetic study of piano art and its relationship with the musical language and musical works of romantic piano musicians in the 19th century, and draws a conclusion that the artistic aesthetics of romantic piano and the artistic core of classical philosophy are embodied. The piano works of Romanticism "go back to the inner world" are the double presentation of the music language based on emotion theory and the artistic core of classical philosophy. (shrink)

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of Chinese traditional (...) philosophy on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

The centrally-planned Soviet command economy was one of the twentieth century’s most radical and complex economic, political and social experiments. Its establishment did not coincide with the onset of Soviet power across the former Russian Empire in 1917-1918, but instead resulted from fifteen years of shifts, readjustments and breaks, and through experiments with both quasi-socialist market economics and centralised administrative command practices. The present article surveys the conflictual relationship between Soviet planning and Marxism in this period. It demonstrates how the (...) Stalinist command economy contradicted much of the theory and practice that the Bolsheviks themselves had thought ought to characterise the new economic system. (shrink)

La réflexion s’appuie dans un premier temps sur une opposition entre deux attitudes de pianistes à l’égard du travail à l’instrument : Gould, qui revendique une séparation d’avec le clavier pour ne privilégier que la lecture; Arrau, dont la technique au contraire vise à « faire corps » avec son piano. L’étude de ces deux démarches d’interprètes conduit à une conclusion croisée : l’abstraction gouldienne n’est rien d’autre qu’un déplacement du jeu vers d’autres instruments (ceux qui servent à la (...) prise de son et au montage de ses enregistrements) ; le « faire-corps » hérité de la culture pianistique romantique est plus dialectique que fusionnel, et en cela implique une capacité de mise à distance. A partir de cette double conclusion, on tâche enfin de repenser la place du jeu à l’instrument dans la mise en œuvre d’une interprétation, en interrogeant le dialogue qui s’instaure entre la partition telle qu’elle s’écrit et le geste tel qu’il se joue. (shrink)

Many Chinese pianists, Lang Lang and Yun-di Li for example, received international recognition in recent years. When study the history of piano study and composing in China, it is not surprising that the history of Chinese piano music has gone through specific periods which strongly influenced compositional activities. This article is aimed to display cultural and political aspects that are behind historical period and analyses representative work in compositional style and characteristics.

Deep learning and artificial intelligence are jointly applied to concrete piano teaching for children to comprehensively promote modern piano teaching and improve the overall teaching quality. First, the teaching environment and the functions of the intelligent piano are expounded. Then, a piano note onset detection method is proposed based on the convolution neural network. The network can analyze the time-frequency of the input piano music signal by transforming the original time-domain waveform of the piano (...) music signal into the frequency distribution varying with time. Besides, it can detect the note onset at a stable state after 8 × 104 iterations. Moreover, an intelligent piano teaching method is designed to teach Jingle Bells for 40 preschool children aged 4–6 years. Finally, a questionnaire survey is performed to investigate the teaching situation, including the learning interest and learning effect of children and learning feedback from parents. The results show that 80% of children like smart music scores, 82% of children like intelligent piano lessons with games, and 84% of children can learn actively in the intelligent piano class. Besides, 85% of parents believe that their children are more interested in learning piano. In general, the intelligent piano teaching method effectively combines DL with AI to realize the overall optimization of piano performance. It is widely favored by preschool children and their parents and plays an important role in improving the interest of preschool children in piano learning. (shrink)

The first season of Westworld the has recurring image of a piano which is capable of playing its own keys and pedals. Robert Ford's error demonstrates how our common‐sense view of consciousness has been incorporated into the way we think and even speak about the ourselves and others. When we look at ourselves and those around us, we use rather common‐sense concepts to explain or understand human behavior and action. Dennett believes that what we conceive as consciousness, from our (...) common sense, is an illusion that represents the deeper, more complex functions within the human brain. The eliminativism of Robert Ford, Paul Churchland and Daniel Dennett, rejects what our common sense tells us about consciousness and what Descartes himself had tried to defend. What we seem to intuitively conceive as human consciousness is just as much a fiction as are the narrative loops and backstories of Westworld's hosts. (shrink)

Historically the plan has been about much more than economic planning. By plan-based thought I mean a concept of social governance that requires a multiple but structured articulation of social, economic, administrative and political forces and institutions and aims at shaping new forms of integration and social control using a specific scientific discourse.The following essays provide an analysis of global planning starting from different historical and geographical situations and different disciplinary perspectives. The broad picture that emerges shows points of continuity (...) and discontinuity between different contexts and theories but also reveals a common theme: the conflictual relationship between economics and politics which not only reflects the hierarchies between state and society but also shows the dialectic between different forms and conceptions of power and their social reproduction. Plan-based thought does not only concern temporary institutional transformations, but reacts and is connected to the management of social conflicts over time. (shrink)

Resumen: El piano, de origen europeo, es la cristalización de la civilización musical occidental y es conocido como el rey de los instrumentos musicales. Después de cientos de años de desarrollo, ha desarrollado un sistema relativamente completo de creación, interpretación y enseñanza. En este proceso, se puede ver que hay muchas obras de música para piano con el estilo y el encanto únicos del pensamiento tradicional chino, utilizando el método de la música folclórica china y la melodía con (...) características chinas. La combinación de pensamientos tradicionales y piano demuestra el encanto único de la música china, con una fuerte herencia cultural y atractivo artístico. Por lo tanto, las obras de música para piano infiltradas en el pensamiento tradicional chino no son sólo un tesoro de China, sino también un elemento indispensable en la interpretación y educación del piano chino. El propósito de este artículo es comprender y reflexionar profundamente sobre las obras de música para piano en la cultura tradicional china, explorar la singularidad y el encanto de las obras de música para piano chinas y comprender la encarnación de los pensamientos tradicionales chinos en la creación de música para piano, explorando así la singularidad y la innovación. de la creación de música para piano china, proporcionando referencia y apoyo para promover el desarrollo de las obras de música para piano china. (shrink)

Like in all industrial societies, in the United States economic planning was a prominent political-economic ideal in the wake of World War II. Paying attention to the postwar decades, this article focuses on how and why private American industrial corporations appropriated the practice and rhetoric of planning, in the context of the outbreak of the Cold War. This corporate appropriation displaced debates about planning into a social and cultural register in the United States. Paradoxically, the outward-looking U.S. state accepted robust (...) state planning regimes abroad even as the Cold War hampered the legitimacy of state-centered economic planning at home. The paradox helped set the stage for the global crisis of industrial societies after 1968 that brought the postwar era to a close and would ultimately undermine economic planning everywhere. (shrink)

Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and (...) Chinese style appear. Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works. (shrink)

Ante la devaluación de la formación universitaria debido a la escisión entre docencia e investigación, se propone la “investigación formativa” como fórmula de aprendizaje significativo. Se ofrece un marco epistemológico basado en la complejidad del conocimiento en Humanidades, y un planteamiento metodológico organizado sobre la transversalidad y convergencia disciplinar. Se presentan resultados de su aplicación en el estudio de problemas relacionados con el patrimonio arquitectónico y urbanístico. Se muestran casos de estudios diversos que demuestran su flexibilidad, su interactividad en el (...) aprendizaje y su potencialidad de transcender de la comunidad universitaria a la ciudadanía en general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 485-494 [Access article in PDF] Art of the Piano Denis Dutton CHARLES ROSEN is so familiar to readers as an acute music theorist and historian of European ideas and literature that it is easy to forget that he is one of most stimulating and compelling pianists of the last fifty years. In Piano Notes: The World of the Pianist (Free Press, $25.00), (...) he combines his intellectual and musical gifts to take stock of his profession as concert pianist. The result is engaging, insightful, and for lovers of piano artistry, not a little disturbing.The piano, in case no one has noticed, is in steep, serious decline. My piano tuner, Adam Linning, began his career in Glasgow. He worked for the largest piano retailer in the city: it had seventeen tuners on the road in 1954, the year Glaswegians first got television. By 1959, when he left for New Zealand, there were three other tuners working with him. Adam explains the decline in terms of Glasgow apartment space. The piano and the TV had to share the living room, and so long as the room flickered with gray-blue light, the piano had to remain silent.People used to gather around and sing together at the piano—in my childhood experience, any group of a dozen middle-class adults would contain at least one competent sight-reader who could play, if not Beethoven, then Christmas carols, reductions of Your Hit Parade songs, or scraps of boogie-woogie. This meant that there was abroad in the land a critical mass of amateur pianists who knew enough about music literature, notation, and performance to constitute a core audience for the piano masters of the day—Horowitz, Rubinstein, Arrau, Cherkassky, and the like—and who also had an appreciation of jazz greats such as Art Tatum.The decline in the number of amateur pianists, people with knowledgeable admiration of piano playing, has tracked the decline of the [End Page 485] piano virtuoso as classical star. Recording too has played a role in these changes. I doubt that there was a greater love of classical music fifty years ago than now. But attendance at live performances of anything is no longer required in order to attain familiarity with repertoire. Recording, particularly from the LP era on, enormously enlarged general knowledge of the musical literature: people who a hundred years earlier would have been lucky to hear three Haydn symphonies or two Handel operas in a lifetime can now, no matter where they live, listen to them all. Recording did to music something like what the Roman alphabet and moveable type did for news and literature: it enabled the universal dispersal of all of music's products, the worst to the best. For years professional musicians tended not to appreciate this. While it is true that there are fewer people about who can actually play Scarlatti sonatas, that has to be balanced against the agreeable fact that knowledge of these small masterpieces is no longer limited to the fifty or sixty included in early editions, from which was derived the same two dozen that we would hear from pianists over and over. Now we can hear all 550+, and learn about them for ourselves (Arts & Letters Daily even links to a website where you can find any Scarlatti sonata in seconds, click on it, and listen.)This is a big change. Keyboard virtuosity goes back a long time, even before Bach, although it was Liszt, as inspired by Paganini, who gave the piano its first real idol. Enter Edison a few decades later, and with his appearance it became possible for people to joke, "The only instrument I play is the phonograph." If there are fewer pianists able to make a living performing the classical repertoire today, it is because a world of mostly non-pianists that is oversupplied with CDs just doesn't need them all, either to hear the playing or enjoy the music.A notable aspect of Charles Rosen's regard for piano playing is that he conveys no dewy-eyed nostalgia about... (shrink)

This study explores the integration of playing and singing within piano performance, viewing this fusion as a profound expression of both musical and spiritual experience. Through the lens of art philosophy, we examine the mutual enrichment of piano performance and vocal expression, considering their roles in enhancing the depth and emotional resonance of musical presentation. This paper articulates the theoretical underpinnings and practical methodologies for merging perceptual and expressive elements in piano performances, structured around three core areas (...) of practical exploration. By melding theory with practice, we delve into the artistic philosophy that underlies the combination of piano playing and singing, highlighting the holistic nature of music as a form of both artistic and spiritual expression. Playing and singing, while distinct forms of musical articulation, together create a compelling dynamic that is central to the transformative power of music. From the perspective of art philosophy, investigating the interplay between instrumental and vocal music is crucial for advancing our understanding of how these elements can coalesce to enhance spiritual and emotional expression within performances. The primary aim of this paper is to elevate the fusion of expressiveness in piano performance and singing, thereby enriching the spiritual and emotive impact of musical expression through a philosophical exploration of these art forms. (shrink)

The philosophy of piano performance teaching, rooted in hermeneutic theory, represents a significant evolution from traditional pedagogical methods. This approach emphasizes a shift from mere knowledge transmission to a deeper, interpretative understanding of music, prioritizing the dialogic interaction between teacher and student. Such an educational framework underscores the ontological essence of music, advocating for respect for its historical and contemporary realities and elevating the interpretative role of the student within the learning process. In this context, piano performance teaching (...) transcends conventional skill-based instruction, evolving towards a model that is student-centered and rich in connotative depth. This pedagogical philosophy not only respects but also highlights students' subjectivity, recognizing their central role in interpreting and understanding musical texts. The emphasis on the ontological aspects of music encourages respect for both the past interpretations and potential future directions of musical expression. Moreover, by integrating hermeneutic principles into piano performance teaching, this approach fosters a spiritual and philosophical exploration of music, aligning with broader themes of religious art education. It encourages students to engage with music as performers and as thoughtful interpreters who consider the deeper meanings and spiritual dimensions of musical works. This philosophical shift enhances the educational experience, promoting a holistic understanding of music that connects technical proficiency with existential and spiritual inquiry. In essence, the hermeneutic-based philosophy of piano performance teaching redefines the pedagogical landscape, offering a more nuanced and spiritually enriching framework that aligns with the principles of religious art education. This approach not only challenges traditional methods but also opens new avenues for the exploration of music as a profound medium of human expression and spiritual reflection. (shrink)

Female specificity in narrative films is a topic as illusive and controversial as it is incredibly rich with potential for analysis and research. Particularly illusive is scholarly research on the female gaze in mainstream filmmaking. Male specificity in the movies is far less illusive and controversial. So pervasive is the male presence in mainstream film form that the term the male gaze1 has become institutionalized in theory and practice. The female gaze, perhaps unavoidably so, eludes institutionalization.2 My paper presents a (...) glimpse into the traces of the female gaze in Jane Campion's historical film, The Piano. Campion's filmic text creates a space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytical innovations of the last half-century. I have chosen The Piano because it presents an overwhelmingly clear demonstration of the female gaze and does so within the limitations of mainstream film conventions. (shrink)

In exploring the profound interplay between aesthetic experience and psychological needs within piano performance, this study adopts a philosophical lens, particularly through the dimensions of aesthetics, challenge, and novelty, guided by the BRECVEMA theoretical model. Through rigorous statistical analysis, including ANOVA, we delved into how different piano playing techniques affect these core dimensions, revealing that technique significantly influences aesthetic enjoyment (F=27.394). Notably, a nuanced delay in technique yielded the highest aesthetic ratings (7.39) among advanced players, underscoring the intricate (...) relationship between skill execution and aesthetic perception. Moreover, the challenge dimension, pivotal in shaping performers' engagement, varied significantly with experience level and technique (F=21.063). Beginner players found variations less challenging (rated 3.42) compared to advanced players (rated 4.86), highlighting how psychological needs evolve with proficiency. The novelty dimension exhibited the most pronounced effect (F=30.05), with beginners experiencing heightened psychological challenges as they navigated skill enhancement (R²=0.65, adjusted R²=0.62), suggesting that mastering new skills is integral to their aesthetic journey. In contrast, for advanced players, the capacity for self-expression emerged as paramount, directly influencing their aesthetic enjoyment (R²=0.75). This shift indicates a deeper philosophical and potentially spiritual engagement with music, where self-expression transcends mere performance to fulfill more profound psychological needs. This analysis not only sheds light on the intrinsic connection between aesthetic experience and psychological fulfillment in piano performance but also invites a philosophical contemplation of how these elements reflect broader spiritual and existential themes, thus enriching our understanding of art as a medium for profound human expression and connection. (shrink)

This research focuses on the complex relationship between the musical narrative and emotional expression in piano works from a philosophical point of view. It aims at identifying how emotions are enacted within music and how they can influence and mold the listener’s experience. Building on the premises of important philosophical theories, the study explores the idea of musical narrative, its origins, and its impact on forming emotions within music. Emotional communication in piano works is also discussed in the (...) study, with an emphasis on how composers incorporate various musical features to portray certain emotions. Furthermore, this research elaborates on the philosophical perspective of musical narrative and emotional expression and contributes to the understanding of the aspects within the framework of piano music. The findings of this research are intended to add to the debates in the philosophy of music, with regard to performance and listener’s reception. (shrink)