This book offers a truly interdisciplinary discussion on the relationship between the vocal and the instrumental in music and other arts and in everyday communication alike. Presenting an in-depth systematical and historical analysis of the evolution of word and gesture art, it gives extensive information on the anthropological, biological, and physiological influences and interactions in music and beyond. The book gives a unique definition of the genuinely vocal and instrumental from their generative deep structure: They derive from and are determined in their production by the duality of voice and hands, and in terms of product as the tone or ‘tonal’ on the one hand, and the percussive, that is noise plus rhythm, on the other. This book succeeds in bringing together perspectives from art, and from natural and social sciences, merging them to offer new explanations about the relationship between the vocal and instrumental, and eventually about the origins of music, arts, and language. It offers new perspectives on the intertwining between the vocal and the instrumental, specifically in the context of the expressions of human languages. At the same time, this book aims at clarifying and explaining the role of words and gestures in different contexts, such as society and communication, education, and arts.

Software is an essential enabler for science and the new economy, but software often falls short of our expectations, remaining expensive and not yet sufficiently reliable for a constantly changing and evolving market. This publication, which forms part of the SoMeT series, consists of 41 papers, carefully reviewed and revised on the basis of technical soundness, relevance, originality, significance, and clarity. These explore new trends and theories which illuminate the direction of developments which may lead to a transformation of the role of software in tomorrow’s global information society. The book offers an opportunity for the software science community to think about where they are today and where they are going. The emphasis has been placed on human-centric software methodologies, end-user development techniques, and emotional reasoning, for an optimally harmonised performance between the design tool and the user. The handling of cognitive issues in software development and the tools and techniques related to this form part of the contribution to this book. Other comparable theories and practices in software science, including emerging technologies essential for a comprehensive overview of information systems and research projects, are also addressed. This work represents another milestone in mastering the new challenges of software and its promising technology, and provides the reader with new insights, inspiration and concrete material to further the study of this new technology.

Reason and Experience in Mendelssohn and Kant provides the first in-depth examination of the lifelong intellectual relationship between two of the greatest figures of the European Enlightenment, Immanuel Kant (1724-1804) and Moses Mendelssohn (1729-1786). Both were engaged in a common project of striking the right balance between rationalism and empiricism. They sometimes borrowed from one another, often disagreed with one another, and can usefully be compared even when they did not directly interact. Guyer examines a series of comparisons and contrasts: their arguments and conclusions on a range of metaphysical issues, including proofs of the existence of God, immortality, and idealism; their shared interests in aesthetics; and their path-breaking work on the “religion of reason” and the separation of church and state. Setting the work of both philosophers in historical context, Guyer shows that, where Kant sometimes provides deeper insight into the underlying structure of human thought, Mendelssohn is often the deeper student of the variety of human experience. This is evident above all in their treatments of aesthetics and religion: Mendelssohn recognizes more deeply than Kant the emotional impact of art, and while Kant imagines that organized religion will one day be superseded by pure morality, Mendelssohn argued that organized religion in all its varieties seems here to stay, and so toleration for religious variety is an inescapable requirement of human morality. Based on an exhaustive study of a wide range of texts, this study demonstrates the on-going relevance of Kant and Mendelssohn to modern thought.

"Everyone complains about what is lost in translations. This is the first account I have seen of the potentially positive impact of translation, that it represents... a genuinely new contribution." -- Drew A. Hyland In his original philosophical exploration of translation, John Sallis shows that translating is much more than a matter of transposing one language into another. At the very heart of language, translation is operative throughout human thought and experience. Sallis approaches translation from four directions: from the dream of nontranslation, or universal translatability; through a scene of translation staged by Shakespeare, in which the entire range of senses of translation is played out; through the question of the force of words; and from the representation of untranslatability in painting and music. Drawing on Jakobson, Gadamer, Benjamin, and Derrida, Sallis shows how the classical concept of translation has undergone mutation and deconstruction.

There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.

In this 1914 work, Newman attempts 'a complete and impartial psychological estimate' of a complex and frequently misinterpreted genius.

Transfigurements develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare’s comedies; and the music of Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a compelling new elaboration of the philosophy of art.