Ideas of Time in Music : A Philosophico-logical Investigation Applied to Works of Alberto Ginastera (1916 - 1983)

This thesis proposes temporal conceptions that stem from philosophical inquiry, such as linear time, cyclical time and branching time, to then find a connection with the way music is structured and with musical meaning. I consider ontological and phenomenological approaches to the problem of time and music in order to demonstrate this. The central aim of this investigation is to build bridges and dissolve the opposition between time taken (clock time) vs. time evoked (conceptual time) in studies on time and music. Lewis Rowell, Jonathan Kramer, Jos Kunst and Alan Marsden s contributions are going to be taken as the main references. I consider the ontological approach as extremely literal since linearity, circularity and branching time are not explored there as concepts defining the meaning of music, but as abstract orders in time for music being processed, viewed from an exclusively technical point of view. In turn, the phenomenological approach does not generally link music to philosophical developments, it just describes general cultural conceptions of time. This thesis interprets the temporal modes of the phenomenological approach as highly coincident with the temporal ontologies in the ontological approach, as seen through developments in temporal logic. Temporal logic, a branch of the classical logic, is used as a methodological trigger. Here the work of Arthur Prior is going to be taken as reference. Temporal logic first formalises, then clarifies, and finally validates assertions expressing temporal beliefs. The hypothesis of this thesis, that temporal conceptions are expressed through music, having in this case the power to explain at least its primary meaning, uses temporal logic as a bridging symbolism. In this sense, a comparison between music and language within a broader analysis is undertaken, before developing ideas of logic and temporal logic within musical practice. In particular, in my study of some works by the Argentinian composer Alberto Ginastera (1916 1983), I illustrate the idea of a multi-temporality, i.e. the same composer works with several time structures already available by a cumulative process in the history of ideas. The thesis finds there is a special type of time in music─neither an exclusive musical time as a totally separate time species; nor Time in music, in an abstract de-subjectified view. Thus, a cooperative, synthetic position is defended. Secondly, music represents by means of its distinct elements something inherent to itself, which links with concepts of time (ideas), and by using these elements in certain conventional ways, displays culturally conditioned temporal meanings. Thirdly, music displays a kind of temporal logic, although an extended view comparing it with the exclusively linear logic of music as conceived by the formalist tradition in musicology. It is also an aesthetically oriented approach different from the temporal logic as applied in literal representations of music in computing areas. Finally, I argue for a new musical temporal mode, the actual branched time in music (in the sense of parallel times), through the addition of a theoretical background for this mode in musicological studies.Ideas of Time in Music states that music is not only a source of pleasure but also a source of knowledge. We learn something about time with music, not only in the primal sense of understanding dimensions, but in the profound sense that music meditates, through sound, ideas about time. Linear, cyclical, and branching time conceptions external to music find a connection with music s internal structure and meaning. In order to demonstrate this, issues of musical ontology, musical language, and musical logic are developed. In addition, the main philosophical perspectives on time, ontological and phenomenological, are combined for a more comprehensive account of time in music. Alberto Ginastera s music is analysed at the end as an example of how the time of music helps in constructing its meaning

Proceedings of the Conference on Production Systems and Logistics: CPSL 2022

[no abstract available

Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Designing the early history of typography in Brazil

Many histories of typography in Brazil have been told from the point of view of book and newspaper publishing. A history of typography in Brazil as part of design history, however, is still to be written, or, better yet, designed. In order to help address this gap in knowledge, a digital platform able to gather data and provide information on the early history of letterpress printing in the city of São Paulo has been devised and implemented by a research team coordinated by the authors of this paper. In addition to textual and numerical information on over 200 trade printers, type foundries, type distributors, and their staff, the platform provides interactive maps showing the location of these companies, and a timeline of their activity from 1827 to 1927. It also offers a reconstruction of the printers’ repertoires—samples of the typefaces they used, built from thousands of images collected from printed pages. The result is a rich set of data accessible by anyone interested in learning more about the early history of typography in São Paulo, gathered in a system that allows for systematic updates, and which can be expanded to incorporate data from other periods, sources and location

Dipterocarps protected by Jering local wisdom in Jering Menduyung Nature Recreational Park, Bangka Island, Indonesia

Apart of the oil palm plantation expansion, the Jering Menduyung Nature Recreational Park has relatively diverse plants. The 3,538 ha park is located at the north west of Bangka Island, Indonesia. The minimum species-area curve was 0.82 ha which is just below Dalil conservation forest that is 1.2 ha, but it is much higher than measurements of several secondary forests in the Island that are 0.2 ha. The plot is inhabited by more than 50 plant species. Of 22 tree species, there are 40 individual poles with the average diameter of 15.3 cm, and 64 individual trees with the average diameter of 48.9 cm. The density of Dipterocarpus grandiflorus (Blanco) Blanco or kruing, is 20.7 individual/ha with the diameter ranges of 12.1 – 212.7 cm or with the average diameter of 69.0 cm. The relatively intact park is supported by the local wisdom of Jering tribe, one of indigenous tribes in the island. People has regulated in cutting trees especially in the cape. The conservation agency designates the park as one of the kruing propagules sources in the province. The growing oil palm plantation and the less adoption of local wisdom among the youth is a challenge to forest conservation in the province where tin mining activities have been the economic driver for decades. More socialization from the conservation agency and the involvement of university students in raising environmental awareness is important to be done

African Handbook of Climate Change Adaptation

This open access book discusses current thinking and presents the main issues and challenges associated with climate change in Africa. It introduces evidences from studies and projects which show how climate change adaptation is being - and may continue to be successfully implemented in African countries. Thanks to its scope and wide range of themes surrounding climate change, the ambition is that this book will be a lead publication on the topic, which may be regularly updated and hence capture further works. Climate change is a major global challenge. However, some geographical regions are more severly affected than others. One of these regions is the African continent. Due to a combination of unfavourable socio-economic and meteorological conditions, African countries are particularly vulnerable to climate change and its impacts. The recently released IPCC special report "Global Warming of 1.5º C" outlines the fact that keeping global warming by the level of 1.5º C is possible, but also suggested that an increase by 2º C could lead to crises with crops (agriculture fed by rain could drop by 50% in some African countries by 2020) and livestock production, could damage water supplies and pose an additonal threat to coastal areas. The 5th Assessment Report produced by IPCC predicts that wheat may disappear from Africa by 2080, and that maize— a staple—will fall significantly in southern Africa. Also, arid and semi-arid lands are likely to increase by up to 8%, with severe ramifications for livelihoods, poverty eradication and meeting the SDGs. Pursuing appropriate adaptation strategies is thus vital, in order to address the current and future challenges posed by a changing climate. It is against this background that the "African Handbook of Climate Change Adaptation" is being published. It contains papers prepared by scholars, representatives from social movements, practitioners and members of governmental agencies, undertaking research and/or executing climate change projects in Africa, and working with communities across the African continent. Encompassing over 100 contribtions from across Africa, it is the most comprehensive publication on climate change adaptation in Africa ever produced