Scotto talks about the relation of syntax to semantics in natural language. It is not intended that one's understanding of each sentence be based wholly on the truth-conditional for it which the ...theory entails. Rather, the theory purports to interpret each sentence by locating its position on the lines of truth determination for the language as a whole, by stating its truth conditions in the framework of the general principles by which the truth conditions of any sentence are determined by its structure. The meaning of each sentence S is given not by that unique theorem which refers to it, but by that infinite set of theorems which refer to all sentences that contain any S-component.
Shultis briefly addresses the impetus for the divide from the continental perspective: John Cage's lectures at the Darmstadt Ferienkurse fur Neue Musik in 1958, his "Composition as Process." He then ...considers the critique of those lectures and their author, beginning with the break between Cage and French composer/conductor Pierre Boulez, which primarily served as an important reason why Cage's lecture became the "gauntlet-like" attack on his European contemporaries. He also looks at Italian composer Luigi Nono's famous response "Presenza storica nella musica d'oggi" (Historical Presence in Music Today). And finally he draws attention to the best criticism of Cage from this perspective, German-born Dutch composer Konrad Boehmer's "Zufall als Ideologie" (Chance as Ideology) from his dissertation "Zur Theorie der offenen Form in der Neuen Musik." He then considers the position of German philosopher and critic Theodor Adorno, whose Philosophie der Neuen Musik was an important influence on post-war experimental music on the continent and who himself was a contributor to the discourse on new music at Darmstadt.
Richards et al interview JACK Quartet members, namely Christopher Otto, Ari Streisfeld, John Pickford Richards, and Kevin McFarland, about their initial experience going into the Eastman School of ...Music, the new music scene there, and how the quarter was formed. Otto et al tell something about their first experiences meeting composer Bob Morris and playing his music. They also share how they came to perform Arc and Allegro Appassionato at the Tank and elsewhere. Then, they differentiates Allegro Appassionato and Arc.
The Federal Reserve System is not America's first central bank. "Hamilton brushed up on money matters," writes Chernow, with some primers Pickering sent him such as "tracts written by the English... ...polemicist Richard Price, and his all-purpose crib, Postlethwayt's Universal Dictionary of Trade and Commerce." ...Hamilton read a dictionary along with British mercantilist propaganda pamphlets to teach himself enough financial lingo to write an April 30, 1781 letter to Morris that advocated protectionist tariffs, a central bank, taxes on land, poll taxes, and a large public debt. Douglas Adair, editor of an edition of The Federalist Papers, wrote in his introduction that as treasury secretary, "Hamilton transformed every financial transaction of the Treasury Department into an orgy of speculation and graft in which selected senators, congressmen, and certain of their richer constituents ... participated."
Robert Morris Vandagriff, Rachel
Perspectives of new music,
01/2012, Volume:
50, Issue:
1-2
Journal Article
Peer reviewed
Vandagriff interviews editor Robert Morris about his first exposure to Perspectives for New Music (PNM) and how his history, his musical and intellectual development, was influenced by and interacted ...with/currently interacts with PNM. Morris also tells how the University of Michigan is structured. Moreover, he tackles how he was able to find good articles for PNM.
John Rahn Vandagriff, Rachel
Perspectives of new music,
01/2012, Volume:
50, Issue:
1-2
Journal Article
Peer reviewed
Vandagriff interviews editor John Rahn about his relationship to Perspectives of New Music (PNM) and how he got involved with it. Rahn shares how he felt when PNM's editors were more focused on being ...more open-minded and "alternative" and how he saw himself in relationship to it. He also talks about the free improvisation he did before Princeton and how he tried to reach out to be much more connected to work in Europe. In addition, he recalls how he became more aware of and involved with European journals or societies working in the realm of mathematics, computers, and music. Lastly, he explains how Robert Morris, Benjamin Boretz and him decided to join and lead the journal together and what things he considered when figuring out whether or not he wanted to or should take on that job, or at least part of that job, again.
In 1869, African American author Frank J. Webb returned to Washington, D.C., to become a “Carpetbagger” in the Reconstruction South. In a letter to black Bostonian Robert Morris, Webb illustrated the ...richness of antebellum African American reform networks and portrayed one man’s boundless optimism for race relations in postbellum America.
Jack Hilton was a working-class author who frequently expressed ambivalent attitudes toward modernity and industrialism. He often seems nostalgic for a pre-industrial past, yet simultaneously ...acknowledges the material benefits of industrialism and the difficulties of rural life. Many of Hilton’s critiques of industry focus on the effects of mechanized or “rationalized” labor on the intellectual and cultural development of the working class. But while Hilton critiques industrial labor, he is careful not to romanticize labor in other fields, acknowledging the oppressive nature of all wage labor and its negative effects on culture. In this essay, I outline Hilton’s critique of rationalized work and its effects on working-class culture. Then, I contrast his criticism of industry with his depictions of other types of work, including both agricultural labor and work in skilled trades, highlighting how Hilton problematizes his own critique of rationalization. I conclude by detailing Hilton’s proposed solutions to labor’s negative effects on culture, and explore the extent to which his concern for working-class culture informed his support of socialism, which he believed would provide working-class people with the economic stability and leisure time necessary for intellectual and artistic pursuits. Hilton’s materialist analysis of his own cultural moment seems to anticipate cultural studies methodology, positioning Hilton as part of the intellectual pre-history of the discipline. Moreover, Hilton’s refusal to separate cultural and political critique provides a model of cultural studies as an active political practice. This essay explores the apparent contradiction between Ezra Pound’s foundational role in the formulation of modernist poetics and his active engagement in fascist political projects beginning in the interwar years and continuing through World War II. Recently, many scholars have worked to document the extent of Pound’s investment in fascist projects and to explicate the political and social content of much of his poetry. Yet the question still stands: what connections exist between Pound’s understandings of poetics and politics? This essay seeks to address this question by examining Pound’s inter-war nonfiction prose. I read these texts alongside the work of German judicial theorist Carl Schmitt, focusing on his theory of sovereignty. First, I outline Schmitt’s definition of sovereignty and the relationship between a sovereign’s power and his use of language. Using Schmitt as a theoretical framework, I then turn to Pound’s early articulations of the role of the artist and the implications of that role on his creation of a paratactic poetic style. By creating a new poetic language that denies the figurative, Pound rescues poetry from the flaws of discursivity by allowing it to approach the status of action. His articulation of aesthetic problems in terms of sovereignty carries over into his political writing and eventual support of fascist dictators like Mussolini. By using Schmitt’s work to explicate Pound’s, I also demonstrate the relevance of Schmitt’s judicial theory to literary studies and provide a framework for further investigations of the political implications of modernist poetics.
An appreciation of the shifting nature of pawning and pawnbroking in America from the late eighteenth century to the antebellum era requires an understanding of the workings of the process and the ...roles played by the main actors: the pawners and the pawnbrokers who participated in the transactions, and their critics, whose increasing anxiety about pawning reflected broader anxieties about the emergent capitalist system and its effects on their notions of traditional American society. From its very first year the PLS generated enough revenue from pawnbroking to pay investors dividends of 6 percent, even after money had been set aside for daily operating expenses such as employee wages, building maintenance, storage costs for collateral, losses from stolen goods claims and auction sales, and in ensuing years, investment in branch expansions.
Analysing the Memory Drawings series completed in 1963 opens the way to studying one of the first suites by the American artist Robert Morris dedicated to the theme of memory. Difficult to pigeonhole ...in terms of styles Morris’s work has recurrently interrogated the notions of memory and oblivion from its beginnings. First, this article examines the creation of each Memory Drawing in the light of the influence of the Task performances at the Judson Dance Theater and the readings of Wittgenstein. It then discusses the nature of what the spectator-reader experiences while trying to reconstitute the creation process in his mind. Staged by his creation in this way the fragility of memory is lastly analysed as a criticism of the idea of intentionality and artistic heroism.
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