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Brian Eno's seminal album Ambient 1: Music for Airports continues to fascinate and charm audiences, not only as a masterpiece of ambient music, but as a powerful and transformative work of art. Author John T. Lysaker situates this album in the context of twentieth-century art music, where its ambitions and contributions to avant garde music practice become even more apparent.To appreciate the album's multifaceted character, Lysaker advocates for "prismatic listening," an attentiveness that continually shifts registers in the knowledge that no single approach can grasp the work as a whole. Exploring each of the album's four tracks and their unique sonic arrangements, Brian Eno's Ambient 1: Music for Airports argues that the album must be approached from at least three angles: as an ambient contribution to lived environments that draws upon cybernetics and the experiments of Erik Satie, as an exploration of what John Cage has termed the "activity of sounds," and as a work of conceptual art that asks us to think freshly about artistic creativity, listening, and the broad ecology of interactions that not only make art possible, but the full range of human meaning.If one listens in this way, Music for Airports becomes a sonic image that blurs the nature-culture distinction and rescues the most interesting concerns of avant-garde music from the social isolation of concert halls and performance spaces.
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A personal and persuasive reading of Emerson as a philosopher
Self-culture. --- Transcendentalism (New England) --- New England transcendentalism --- Culture, Self --- -Home education --- Home study courses --- Self-development --- Self-directed learning --- Self-education --- Self-improvement --- Self-instruction --- "Teach yourself" courses --- Education --- Gap years --- Open learning --- Emerson, Ralph Waldo, --- Imarsana, Rāfa Vālḍō, --- Emerson, R. W. --- Emerson, Waldo, --- Emerson, R. Waldo --- Ėmerson, Ralʹf Uoldo, --- Ai-mo-sheng, --- Emarsan̲, --- אמרסון, רלף ולדו, --- עמערסון, ראלף וואלדא,
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In the manner of Emerson, Cavell, and Rorty, Lysaker's vibrant writing is certain to have a transformative effect on American philosophy today.
Philosophy, American --- Emerson, Ralph Waldo, --- Imarsana, Rāfa Vālḍō, --- Emerson, R. W. --- Emerson, Waldo, --- Emerson, R. Waldo --- Ėmerson, Ralʹf Uoldo, --- Ai-mo-sheng, --- Emarsan̲, --- אמרסון, רלף ולדו, --- עמערסון, ראלף וואלדא,
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Philosophy's relation to the act of writing is John T. Lysaker's main concern in Philosophy, Writing, and the Character of Thought. Whether in Plato, Montaigne, Nietzsche, Wittgenstein, or Derrida, philosophy has come in many forms, and those forms-the concrete shape philosophizing takes in writing-matter. Much more than mere adornment, the style in which a given philosopher writes is often of crucial importance to the point he or she is making, part and parcel of the philosophy itself. Considering each of the ways in which writing influences philosophy, Lysaker explores genres like the aphorism, dialogue, and essay, as well as logical-rhetorical operations like the example, irony, and "ation. At the same time, he shows us the effects of these rhetorical devices through his own literary experimentation. In dialogue with such authors as Benjamin, Cavell, Emerson, and Lukács, he aims to revitalize philosophical writing, arguing that philosophy cannot fulfill its intellectual and cultural promise if it keeps to professional articles and academic prose. Instead, philosophy must embrace writing as an essential, creative activity, and deliberately reform how it approaches its subject matter, readership, and the evolving social practices of reading and reflection.
Philosophy --- Literature --- Authorship --- Authorship. --- Philosophy. --- Aphorism. --- Dialogue. --- Essay. --- Genre. --- Logic. --- Philosophical writing. --- Reading. --- Rhetoric.
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