I am very thankful for his current lecture, I can find probalbly the light in the contradiction of platonism. It was happy to see him on zoom.
I agree with "penetration" in Jean-Luc Nancy's. "Intervention" as meaning of the word includes (including meaning of) "observation". What he mentioned in his lecture, "penetration" is at the state of organic level.
And also "Sensetion of Skin", that is lack in the virtual reality.
- on Human communication
Why are the sound theories philosophy of listening?
Because the sound has wide meaning in our lives. Probably, more than perception of sight. A creation from the listening, not force to heard.
Limina (2019) for 6 musicians/Valerio Sannicandro
Lucier's artwork emphasizes the acoustic phenomenon that is semi-formal property of aesthetic phenomena in a specific space (room).
5.6 Semi-Formalism about Nonpictrial Art (pp. 113 –116), Aesthetics As Philosophy of Perception, Bence Nanay, Oxford: OUP, 2016
In short, we can restrict the scope of my main claim in this chapter in the following way: if an artwork has properties one can attend to, the aesthetically relevant ones of these are semi-formal properties.
In this chapter, Nanay also mentions aesthetic appreciation of picture and music, its emotional aesthetic value (aesthetically relevant property) as semi-formalism.
I call them an aesthetical active action, aesthetic intervention. Even if it is an empty space on the surface.
REVIEWS
Moral Realism And Semantic Accounts of Moral Vagueness
Ali Abasnezhad
Munich Center for Mathematical Philosophy - LMU Munich
abasnejad.ali@gmail.com
Abstract:
Miriam Schoenfield argues that moral realism and moral vagueness imply ontic vagueness. In particular, she argues that neither shifty nor rigid semantic accounts of vagueness can provide a satisfactory explanation of moral vagueness for moral realists. This paper constitutes a response. I argue that Schoenfield’s argument against the shifty semantic account presupposes that moral indeterminacies can, in fact, be resolved determinately by crunching through linguistic data. I provide different reasons for rejecting this assumption. Furthermore, I argue that Schoenfield’s rejection of the rigid semantic account is based on a presupposition that ultimately implies the very same claim that is under dispute: the vagueness of moral predicates in imperfect languages persists in the perfect language, as well.
Keywords:Moral Realism, Moral Vagueness, Ontic Vagueness, Semantic Accounts of Vagueness, Epistemicism, Moral Indeterminacy
1.Introduction
The usual presentations of vagueness involve cases that may seem unimportant. For instance, the fact that it is indeterminate whether a person with the height of 177 cm is tall does not seem to crucially affect our everyday life. Nor the intuition that one hair difference does not change whether someone is bald, which leads to contradiction, seems to be important.1
However, vagueness also appears in much more significant situations, such as moral permissibility (e.g. it is indeterminate whether an abortion at 19 weeks is morally permissible), where the indecisiveness crucially can affect one’s life.2
1 This is called tolerance intuition, which traces back to (Wright 1975, 1976). In general, three main features are associated to phenomena of vagueness: borderline cases, blurry boundaries and tolerance. See Keefe (2000) and Williamson (1994) for discussion.
According to "Uniqueness" in the thesis of Bence Nanay, Aesthetics as Philosophy of Perception (Oxford: OUP, 2016),
6.1 What Uniqueness? The Uniqueness of What?
"I will not argue that uniqueness is an important feauter of the aesthetic domain. What I do argue for this: If you think that uniqueness is an important feautre of the aesthetic domain, then the emphasis stand why. But if you don't think that uniqueness is important or interesting, you will lose very littel by skipping stratght to Chapter 7 (Although you may want to stop for the de Chrico quote and the discussion of 'unprompted eye' at the end of this chapter)."
Aesthetics as Philosophy of Perception (Oxford: OUP, 2016), p. 119
Chapter 2: Distributed Attention
Chapter 7: History of Vision
The Immaterial Japanese National Treasure is excluded from aesthetic judgment, due to an human activity which is not competitive and not commercial, and in the anthropological context.
Whether aesthetic judgment values so higher for the human life, that I don't know, and why.
Nanay's study is visual study, as well as music from the aspect of visual study (image study).
An image has no sound.
Only sound has no image.
My study is visual study as well as music, but in spatial space (in a reality, or towards a reality).
Objective in the Japanese Tradition menas, for instance, we can see it in the Genji Monogatari Emaki (Depiction in Painting), in the Tale of Genji (Depiction in Literature), in the 12th century.
The objective perspective was from the moon.
Medieval Warm Period (MWP) (10th century – 13th century)
How did Lucier transformed his performance into the medium? -> Question for Artistic representational theory.
This piece is in the context of Sannicandro's artistic naturality, which I listened to as a semi-formal property of artwork in the formal condition of listening. Particularly in some phrases of this piece. – the literary value such as metaphor in music, which is the central aesthetic in his composition.
(The simulated recording of the performance by headphone, which is the author's best condition of his artwork in terms of the construction of space and time in the composition. )
"penetration" in Jean-Luc Nancy's
A piano piece with sonic (sound phenomena) without any effects. Things that cannot be made by creation. Things that cannot be copied, cannot be replicated. Things are constructed as artwork as well as an event for aesthetic experience. Things are not to be optimized. Things are in time perception. If uniqueness exists, it does not require the aesthetic judgment, because that is a moment and onceness. Because it is the phenomena of nature, and we cannot define, which reflect to us in mind. At the same time, we are knowing about nature, and our own by ourselves.
In the case of Japan and Germany (Buddhismus culture in Asia (Non Western language) and Christian culture in Europe (Western Language)).
Subjective by Dogen (1200 – 1253)
Due to changes in the "unit" realm of our knowledge today, without Philosophy of Nature, it is impossible to study. Even if it is in the art, that is impossible to research without Study of Philosophy of "Nature".
Such as in the case of the society under fascism, and activity of antifascism in the society under fascism.
From the aspect of feminism in acoustic ecology
“Aesthetic attention beyond the object” (in a sense, "beyond the subject")
Abstract:
In her contribution Specular Space, Mac Cumhaill argues that the “empty space” of a depicted object is not physical empty space but rather it is a mental “empty space” of specular experience through superficial phenomenon. It can be explained in today’s cognitive neuroscience and cognitive psychology. With two-dimensional images on the Internet, we see the image on the screen. In fact, this surface is an empty space, the sound overlaps the images that directly give us the attention, which is simulated as if “awareness” that calls the futuristic "impact" of things or events. In this paper, I explore “aesthetic attention”, particularly from the auditory sense of things and events. Thereby, I question, “How are we paying attention in everyday life?” particularly in non-human and human society. How might our attention be changing in contemporary society and its environment? These questions address to attention as an aesthetic experience in regards to the contribution Specular Space by Mac Cumhaill. (...)
References:
- Mac Cumhaill, Clare. “Specular Space.” Proceedings of the Aristotelian Society, vol. 111, 2011, pp. 487–495.
- “Listening to Instruments.” Instruments for New Music: Sound, Technology, and Modernism, by Thomas Patteson, University of California Press, Oakland, California, 2016, pp. 1–17.
- O' Callaghan, Casey, Beyond Vision: Philosophical Essays, Oxford: OUP, 2017.
- Schulze Holger, Sonic Fiction, London: Bloomsbury Publishing, 2020.
Many arts (Film, Literature, and other arts) were/are, however, Sit-in protest against the nuclear weapon (anti-war) in Post-war was one of.
Adoration of the Mystic Lamb by Hubert van Eyck and Jan van Eyck
in the 15th century.
Subjective by Immanuel Kant (1724 – 1804)
Little Ice Age (LIA) (16th ceuntry – 19th century)
Moral Vagueness
A Dilemma for Non-Naturalism
-
Cristian Constantinescu
This chapter explores the implications of moral vagueness (namely, the vagueness of moral predicates) for non-naturalist metaethical theories like those recently championed by Shafer-Landau, Parfit, and others. It characterizes non-naturalism in terms of its commitment to seven theses: Cognitivism, Correspondence, Atomism, Objectivism, Supervenience, Non-reductivism, and Rationalism. It starts by offering a number of reasons for thinking that moral predicates are vague in the same way in which “red,” “tall,” and “heap” are said to be. It then argues that the moral non-naturalist seeking to countenance moral vagueness faces a dilemma: are moral properties vague, or perfectly sharp? On either horn of the dilemma, serious problems arise for some of the central tenets of non-naturalism: vague properties seem to threaten Objectivism, Supervenience, and Non-reductivism; on the other hand, sharp properties raise problems for Supervenience and Rationalism. The difficulties on each horn of the dilemma are real, and while they may not be insuperable, they do, at the very least, drastically limit the things non-naturalists can consistently say about moral properties, facts, and reasons.
Keywords: vagueness, moral non-naturalism, moral properties, supervenience, reductivism, Russ Shafer-Landau
Moral means including of tolerance through sound field, sound and music includes vocal in sense. "Tolerance" is not immoral, that is in moral.
On Foucault's freedom briefly, which I associate, that is for human evolution, to be allowed, and its universal society.
Thereby Nanay's account "Semi-formalism" is a common stage of my study in contemporary Aesthetics, after the end of the art.
Ethics (also known as moral philosophy) is the branch of philosophy which addresses questions of morality. The word "ethics" is "commonly used interchangeably with 'morality', and sometimes it is used more narrowly to mean the moral principles of a particular tradition, group, or individual."[8] Likewise, certain types of ethical theories, especially deontological ethics, sometimes distinguish between ethics and morals: "Although the morality of people and their ethics amounts to the same thing, there is a usage that restricts morality to systems such as that of Immanuel Kant, based on notions such as duty, obligation, and principles of conduct, reserving ethics for the more Aristotelian approach to practical reasoning, based on the notion of a virtue, and generally avoiding the separation of 'moral' considerations from other practical considerations."[9]
For an Asian influenced discussion on ethics, morality and humanism see Confucius, Laozi, and daode (Morality, Chinese: 道德).
The term “hard problem of consciousness” was coined by philosopher and cognitive scientist David Chalmers in his 1995 paper Facing Up to the Problem of Consciousness. In it he first describes the easy problem: finding neurological bases for mental phenomena like focusing attention, behavioral control, and integrating information. The hard problem, in contrast, asks why subjective experiences rise out of the brain’s informational processing systems. As Dr. Chalmers wrote, “Why should physical processing give rise to a rich inner life?”
(The lecture "The Biology of Consciousness" with Christof Koch | Neuroscientist | Chief Scientist, MindScope Program, Allen Institute for Brain Science)
EATON, A. W. “Robust Immoralism.” The Journal of Aesthetics and Art Criticism, vol. 70, no. 3, 2012, pp. 281–292. JSTOR, www.jstor.org/stable/43496513.
“Robust Moderate Moralism”
Craig K. Agule (Rutgers University – Camden)
Abstract: What should we make of cases of morally problematic but otherwise apparently beautiful artworks? Do moral flaws make for aesthetic flaws? I argue that our moral reactions have essential perceptual and interpretive elements and that those elements can provide a straightforward, non-foundational, and genre-independent account of aesthetic moralism. We should thus not be surprised if moral flaws make for aesthetic flaws. I also consider a different puzzle for aesthetic moralism, cases where a moral flaw seems tied to an aesthetic virtue, showing that this is possible, but that the ordinary examples are problematic. In both sorts of these cases, I show the aesthetically explanatory power of our fitting moral responses, buttressing the case for aesthetic moralism. We are not prudes or unsophisticated if we find the morally ugly aesthetically ugly, as moral matters and moral responses are proper grist for the aesthetic critic.
Kant did not allow the art practice as a doctoral thesis. Artwork itself, cannot be a moral. Using Geometry itself does not be a creation.
A question towards non-human under the state of emergency. Does it work? Because "How to live human", is the question for the strategy. Today's collaboration in the young generation, they have not much idea about "process" to share, they would like to know and to share the result. We humans need to share the process of, therefore we would start to have the idea for care the project collaboratory. The most of their ideas about artistic intervention is not the same of aesthetic intervention.
Patric Housen & Lukas Huisman, their idea is original Dutch contemporary (Logic), which is based on the optical revolution of Jan van Eyck, however, their case is without Philosophy of Nature.
Ethics of Jan van Eyck was in the perspective of the guideline of the Philosophy of Nature, even if by the Philosophy of Religion.
For whom? The question for the human right in the contemporary law, such as Custody of children with the moral of confucius, also there are many questions by the contemporary law, for which towards morality.
Imitation of Nature and Metaphor: Authentic beauty, it might possible to indicate together with art medium and its technique as "originality" in the art.
Most of Imitation of Nature today in the art is "artificial", many people feel that as artificial beauty. - General beauty today.
It is the aim of the collaboration between me and Sannicandro on manifoldness from the perspective of two paths in artistic research in music practically.
Crossdisciplinary, Transdisciplinary Research:
Multimodality through envisions/envisioning in music from the aspect of music (seeing-in from auditory sense (perception), from seeing-in to auditory sense (diagram).) and visual arts (from perception (sense of sight) to auditory sense (space and time), to transform into diagrams) .
The naive level of moral is such as good or bad level of judgment, which moral is not only in the Christian culture but rather also in the Buddhist culture.
"Kant argues that it is our faculty of judgment that enables us to have experience of beauty and grasp those experiences as part of an ordered, natural world with purpose.
The most common contemporary notion of an aesthetic judgment would take judgments of beauty and ugliness as paradigms—what we called “judgments of taste” in part 1. And it excludes judgments about physical properties, such as shape and size, and judgments about sensory properties, such as colors and sounds."1, that I mention, it does not require to judge for uniqueness with an aesthetic experience subjectivity. However, it exists in the mind of a person. Kant's "pure" does not mean imagination. Rather it is similar to "Satori" in Dogen's, such as self-awareness, self-consciousness, that is authentic.
For example, in "pure music", no one can define, what is pure in music, that is an image. "When I listen to pure music, I feel that I am pure, that effects for sentimentalism and romanticism, what is uniqueness?", that is absurd. Is it emotional intelligence?
Kant's judgment is objective thinking, but it is towards its own aesthetic mind logically.
What it is in the aspect of neuroscience:
Self-consciousness, or self-awareness, is the ability to recognize oneself as a distinct individual and to think about oneself from an outside perspective. It is overdeveloped in humans, particularly adults. Self-awareness is thought to develop relatively late in life due to the late-stage myelination of the projection systems into the prefrontal cortex.2
There is a limit to what humans can do in our lifetime, and brain ageing begins in the late 30s. Kant, and Dogen, their life was in special condition, hence, today's actual theories are from the aspect of neuroscience for well-being, which includes the ability of self-consciousness, or self-awareness.
Studying consciousness in non-human animals:
While most non-human animals do not exhibit as much self-consciousness or depth of consciousness as humans, they are generally understood to be conscious. For instance, dogs exhibit behavioral cues that allows us to understand their conscious states.
Samples of non-human mammalian cortical tissue all look very similar to that of humans and many have the same number of cortical layers. Indeed there is a great continuity in brain structure across mammalian animals; neuroscience has not found anything in particular about the human brain that makes it totally stand out from other species.3
Scientists do not yet understand why specific regions like the cortex or thalamus give rise to consciousness while others do not.
There is much yet to be explored about the origins and development of consciousness in individuals. The time at which consciousness first arises in the growth and development of humans in still unknown.
The theory, developed by Giulio Tononi, predicts whether a system is conscious, to what degree it is conscious, and what particular experience it is having. It does this based on five axioms: intrinsic experience, composition, information, integration, and exclusion.
A conscious system is defined as any system that has a causal influence on itself. The more cause-effect power a system has on itself, the more it is conscious under this definition.
IIT not only defines conscious systems but allows us to measure their level of consciousness, by measuring the degree of integration in the network. For example, the brain can be stimulated with transcranial magnetic stimulation. The resultant electrical reverberation can be measured via multichannel EEG to see how integrated the response is (low in deep sleep and high in awake states).
The theory also makes predictions about machine consciousness that are fundamentally different from the predictions of functionalism. Functionalism states that if you emulate the functions of a system (including organisms), for instance in a computer simulation, that you will also replicate all of the system’s properties.
IIT says that consciousness is not about functional identity but cause-effect power. The underlying physical mechanism determines consciousness; it cannot be determined by a system’s resultant actions or behaviors. The physics of the brain must be replicated, not emulated, for consciousness to arise.4
Optogenetics is a recently developed technique for high-precision control of neurons using light. By introducing the genes for special light-sensitive ion-channel proteins called rhodopsins into neurons, scientists can use focused light to control the electrical signals that those neurons send. This technique has opened the door to cellular-level exploration of NCCs, since scientists can control the exact electrical signals that individual neurons send to each other.5
1. Quote from google.
2. The lecture "The Biology of Consciousness" with Christof Koch | Neuroscientist | Chief Scientist, MindScope Program, Allen Institute for Brain Science.
3. Ibid.
4. Ibid.
5. Ibid.
"Seeing" is an active act of us Human, which attends to things, also which act we Human can reject to see things objectively. When we Human closed our eyes, we Human can see reflected things in mind.
Whether things in a virtual environment or things in real space (in a real environment).
"Listening" is an act of us Human, which we Human might possible to do "off", but not by others, that is why "Listening" is a philosophical act for us Human.
Noise (L´objet sonore) is a vivid world emotional. The question is how it might possible to be conceptualized.
In this context, the attention is for artwork, not for the artist as author. I would like thereby to emphasize, the artist is not an idol. But also the artwork is not an absolute object to believe religiously. Today, the artist is an occupation that is not political, however, the content of artwork and its representation might possible to be a political being in the society. In the commercial art scene, the mass media, social media, etc. will amplify and disseminate the artwork and artist as consumed around the world.
The question is always "What is "Amore"?
Maybe contrary to rationality, probably irrationality, perhaps ridiculous in the whole of the story.
Human-being and Human love.
Do you believe in love?
Study of Body and Mind in philosophy, as well as in the environment (natural and/or artificial, digital and/or analog) from the aspect of neuroscience.
The human body contains a complex immune system that performs its functions silently. Our immune system can even retain “memories” in the form of antibodies, but we have no conscious access to them.
Consciousness is independent of behavior, emotion, and language.
Image 2: Nucleic acid sequence
ONAHSIEGEL.Material Inspirations: The Interests of the Art Object in the Nineteenth Century and After. Pp. xxviiiþ416. Oxford: Oxford UniversityPress, 2020.
An Experiential Account of Creativity
Bence Nanay
The aim of the chapter is to argue that the difference between creative and noncreative mental processes is not a functional/computational one, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory powers of the functional/computational theories and the experiential account are compared, and it is pointed out that if creativity is a natural kind, it is not a functional/computational natural kind, but an experiential one.
Keywords: creativity, originality, experience, functional/computational role, action
I have read the doctoral thesis by Valerio Sannicandro, I understood, even if PhD Sannicandro, it is difficult to overcome (break out) the artificial beauty of today's stage design system by computer software. Because he knows very well, what artwork of "originality" means. His solution was, to developed musical metaphor and the artistic technique for the musicians from the aspect of cognitive linguistics musically.
The composer Alvin Lucier can manage the sound and the soundscape as his art material, but not as from the aspect of physics, but rather from the aspect of the composer.
In doing so, I suggested him to collaborate with the project a.o.i. - lasting memories, on the subject of Genome from the aspect of molecular biology in the 21st century. - for space, time and body.
For the discourse, on race, human life and being for coexistence within the environment, in our near future, that is an important subject.
Artistic research: Silence surrounds us, and silence around us ->