bluuebunny/crossref_metadata_2025_split huggingface dataset:
Aristotle's Philosophical Method
Authors: Reeve C. D. C. 
Published: February 2014

AbstractA problem (problêma) is posed: Is pleasure choiceworthy, or not? The answerer claims that yes, it is (or, alternatively, that no, it is not). The questioner must refute him by asking questions—by offering him premises (protaseis) to accept or reject. The questioner succeeds if he forces the answerer to accept a proposition contrary to the one he undertook to defend, and fails if the answerer always accepts or rejects premises in a way consistent with that proposition. To a first approximation, dialectic is the distinctive method of Aristotelian philosophy. At the heart of dialectic is the dialectical deduction (dialektikos sullogismos). This article discusses Aristotle's philosophical method, focusing on dialectical premises, endoxa (reputable beliefs), and aporiai (puzzles). It also examines the uses of dialectic in intellectual training (gumnasia), ordinary discussion (enteuxeis), and the philosophical sciences, as well as in regard to scientific starting points or first principles (archai). The article concludes by returning to dialectic and philosophy and an important difference between them.
Aristotle on Heuristic Inquiry and Demonstration ofWhat it is
Authors: Chiba Kei 
Published: February 2014

AbstractIn the Posterior Analytics, Aristotle develops a theory of demonstration as a way of gaining causal knowledge of things or events (pragmata) under the general plan of constructing both an ideal structure for demonstrative science and a unified, comprehensive theory of heuristic inquiry. The Aristotelian idea of “demonstrative science” is derived from his attempt to characterize the conditions for “knowledge simpliciter (epistêmê haplôs),” that is, causal and necessary knowledge. This article first shows that Aristotle's inquiry theory is a heuristic theory and as such yields scientific knowledge within the scope of his theory of demonstration, and then examines the difficulties which arise concerning the relation between demonstration and definition. In particular, if demonstrations and definitions turn out to be unrelated in terms of their objects, predications, or methods, Aristotle's general plan will be a failure. The article explores how Aristotle attempts to construct a demonstration of what it is. Finally, by analysing his new theory of definition, the article considers how far he has succeeded in developing his heuristic demonstrative inquiry theory.
Aristotle on the Infinite
Authors: Coope Ursula 
Published: February 2014

AbstractIn Physics, Aristotle starts his positive account of the infinite by raising a problem: “[I]f one supposes it not to exist, many impossible things result, and equally if one supposes it to exist.” His views on time, extended magnitudes, and number imply that there must be some sense in which the infinite exists, for he holds that time has no beginning or end, magnitudes are infinitely divisible, and there is no highest number. In Aristotle's view, a plurality cannot escape having bounds if all of its members exist at once. Two interesting, and contrasting, interpretations of Aristotle's account can be found in the work of Jaako Hintikka and of Jonathan Lear. Hintikka tries to explain the sense in which the infinite is actually, and the sense in which its being is like the being of a day or a contest. Lear focuses on the sense in which the infinite is only potential, and emphasizes that an infinite, unlike a day or a contest, is always incomplete.
Aristotle on the Separability of Mind
Authors: Miller Fred D. 
Published: February 2014

AbstractIn De Anima, Aristotle addresses the problem of whether the mind is separable from the body. In book I, he broaches the broader question of whether the affections of the soul, including emotion, desire, and perception, are separable from the body. In book II, Aristotle follows his explication of the general definition of the soul with the remark that “neither the soul nor certain parts of it, if it naturally has parts, are separable from the body. Yet nothing prevents some [parts from being separable], because they are not the actualizations of any body.” By “parts,” Aristotle means separable faculties or powers, including nutrition, perception, mind, and desire. The issue of separability is signalled at the beginning of the treatment of mind in book III. If mind alone turned out to be separable from the body, the study of the soul would not belong exclusively to physics but would spill over into first philosophy. This would imply either that psychology consists of two separate sciences, or else that first philosophy and physics are not mutually exclusive.
BeingQuaBeing
Authors: Shields Christopher 
Published: February 2014

AbstractAccording to Aristotle, there is a science (epistêmê) that studies being qua being, and the attributes belonging to it in its own right. This claim, which opens Metaphysics IV 1, is both surprising and unsettling—surprising because Aristotle seems elsewhere to deny the existence of any such science, and unsettling because his denial seems very plausibly grounded. He claims that each science studies a unified genus, but denies that there is a single genus for all beings; claims which evidently conspire against the science. Aristotle announces: “[I]f there is no genus of being and every science requires its own genus, then there is no science of being.” This seems, moreover, to be precisely the conclusion he draws in his Eudemian Ethics, where Aristotle maintains that we should no more look for a general science of being than we should look for a general science of goodness. This article looks at three problems about the science of being qua being: The Possibility Problem, the Extension Problem, and the Intension Problem.
Substances, Coincidentals, and Aristotle's Constituent Ontology
Authors: Loux Michael J. 
Published: February 2014

AbstractAs Aristotle sees it, familiar sensible particulars give rise to a certain philosophical project, one common to his materialist predecessors, Parmenides, Plato, and Aristotle himself. The project gets variously labeled: We are to identify the “elements and principles of beings,” the “elements of beings,” and “the principles of beings.” What Aristotle is calling elements and principles are obviously explanatory items, but the project is not concerned with just any explanatory items—only those explanatory of the being of familiar sensibles. This idea comes out in another of his characterizations of the project. Aristotle speaks of identifying the substance of a familiar particular, and argues that the substance of a thing is the cause of its being, so the project is one of identifying the principles and causes of the being of familiar objects. This article, which deals with substances, coincidentals, and Aristotle's constituent ontology, examines the roots of Aristotle's constituent approach to questions of character and discusses his treatment of efficient causality.
Conceptions of Happiness in theNicomachean Ethics
Authors: Irwin T. H. 
Published: February 2014

AbstractAristotle begins the Nicomachean Ethics by asking what the final good for human beings is. He identifies this final good with happiness, and in the rest of Book I, asks what happiness is. In I 7, Aristotle reaches an “outline” of an answer, claiming that the human good (that is, happiness) is activity of the soul in accordance with the best and most perfect (or complete) virtue in a perfect life. But he does not say what the best and most perfect virtue is. Towards the end of the last book of the Ethics, Aristotle seems to answer this question by arguing that the best and most perfect virtue is theoretical wisdom (sophia), exercised in theoretical study or contemplation (theôria) of universal and necessary truths about the universe. He believes that self-sufficiency follows from finality. This article considers Aristotle's conception of happiness, its relation to other goods, happiness as fulfillment of the human function, a monist conception of happiness, complete life, the counting condition, rational life, and moral virtue.
Aristotle on Becoming Good: Habituation, Reflection, and Perception
Authors: Kraut Richard 
Published: February 2014

AbstractThe Greek noun for which “virtue” and “excellence” are often used as translations—aretê (plural: aretai)—is cognate to the name of the god of war, Ares (called “Mars” in Latin) and, centuries prior to Aristotle, designated the manliness or valor of a warrior. But by the fifth and fourth centuries BC, it had acquired a much wider connotation and extension. Aristotle insists that there is one virtue of thought—the one he calls phronêsis (often translated as “practical wisdom”)—which is intimately tied to the virtues of character: One cannot have any of those ethical virtues (justice, courage, moderation) without having phronêsis; and one cannot have phronêsis unless one also has those ethical virtues. This article discusses Aristotle's views on becoming good, focusing on habituation, reflection, and perception, and also examines virtues of character and virtues of thought, Socratic intellectualism, cleverness, the stages of ethical development, and mid-level goals.
Meaning: Ancient Comments on Five Lines of Aristotle
Authors: Sorabji Richard 
Published: February 2014

AbstractThe opening five lines of On Interpretation 1 contain Aristotle's influential account of the meaning of verbs and names, in which he describes them as signs of mental experiences that are in turn likenesses of actual things. The passage occasioned much comment from the ancient commentators, and among modern philosophers the resulting tradition has been criticized by Hilary Putnam. Many modern philosophers hold that thinking involves having representations, and there is discussion (e.g., Michael Tye) of whether these representations should be likenesses of what is thought, or rather some kind of symbols. On a view espoused by Jerry Fodor, the symbols constituting thought form a special language of thought, mentalese, which is different from any natural language, and on another (Norman Malcolm, Hilary Putnam), representations are not needed for thought at all. Where Aristotle stands on these issues depends on how the five lines are taken. The lines treat two things as symbols and one as a likeness. Images play an important role in Aristotle's account of meaning.
“Betwixt and Between” Worlds
Authors: Rogers Holly 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Video art can be highly intermedial. Image and sound are recorded and projected simultaneously, so the user can create live, audiovisual work. This chapter argues that the audience engagement encouraged by video art has changed significantly since it became commercially available. Early video works involved interactivity, intermediality, and the closed-circuit feed. They were often part of multimedia events rather than appearing on their own; therefore the early years of video work can be placed within a temporal, historical liminality. More recent pieces form a coherent body of work. Often shown on flat screens in darkened rooms, they offer predetermined audiovisual narratives that immerse visitors, placing them within a spatial liminality between the video world and the gallery space. Although context is vital to both styles, the activation of space and the audiovisual relationships within it are articulated and activated very differently.
Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films
Authors: Kronengold Charles 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004 Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue, Breaking News reveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.
Chinese Rock ‘n’ Roll Film and Cui Jian on Screen
Authors: Xiao Ying 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
Classical Music for the Posthuman Condition
Authors: Kramer Lawrence 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Classical music has traditionally denied the relationship of technology to the body, something on which it has always uneasily depended. That denial is well-nigh impossible to maintain today, because of the increasing assimilation of music delivery systems with the “posthuman” condition of machine-human interfaces. Bodies are no longer fully separable from machines, if indeed they ever were. The migration of music to digital media collapses the effect of auditory distance that formed the unspoken basis of music’s relationship to the human. This reorientation necessitates far-reaching changes in our conceptions of classical music, the musical work, the listening body, and the act of performance.
Cue the Big Theme? The Sound of the Superhero
Authors: Halfyard Janet K. 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. The most successful superheroes of modern cinema are Superman and Batman. This chapter considers the changes wrought by digital technology in their cinematic construction and the impact on their music. The relationship between action, heroic theme, and the iconography of the superhero demonstrates a significant shift in how thematic music is employed in the more recent Batman and Superman films. This chapter contrasts musical and visual construction of the title characters in Superman (Richard Donner, 1978) and Batman (Tim Burton, 1989) with the treatment of the same characters in Batman Begins (Christopher Nolan, 2005) and Superman Returns (Bryan Singer, 2006). The problem of superheroic action and the musical solutions that analog films employed to address the limitations on representing the superheroes’ abilities is then contrasted with the subsequent decoupling of heroic action and musical theme in the later films, in which digital technology allows more convincing presentation of superheroic powers.
Implications of Interactivity
Authors: Collins Kasey 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores concepts of interactivity as they relate to sound production in video games. A guiding assumption of the chapter is that interactivity is a definitive paper of new digital aesthetics in general and gaming in particular. And yet, the question of interactivity has not been addressed with sufficient stringency in scholarly research. At the heart of the chapter are these questions: What makes interactive sound different from noninteractive sound? Where does interacting with sound fit into our understanding of our experience of sound and music in media? How do we begin to approach interactive sound from a theoretical perspective? The implications of interactivity are examined, specifically the notion of sound as a feedback device and as a control mechanism. . In these ways the chapter works toward a more comprehensive understanding of sounds in new media contexts that addresses their particularity in interactive contexts rather than resting on previous assumptions about the primacy of sounds as narrative devices.
Remaking the Urban
Authors: Bull Michael 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores the creation of an urban sonic aesthetic through a critical analysis of Apple iPod use. Based on original ethnographic material, it chapter explores the differing audiovisual ways in which urban space is mediated through communication technologies like the Apple iPod. It divides the experience of urban space into Fordist aesthetics and hyper-post-Fordist aesthetics and strategies and situates these aesthetic “moments” within a critical analysis informed by the work of a range of urban and critical theorists. In doing so, the chapter re-evaluates the meaning of an everyday audiovisual aesthetic that challenges accepted explanations of urban aesthetic experience, such as flânerie and the cosmopolitan subject that is located in the works of Auge, Benjamin, Sennett, Simmel, and others.
Title Sequences for Contemporary Television Serials
Authors: Davison Annette 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter focuses on the main title sequences of recent television serials commissioned by the North American premium cable channel Home Box Office. At around 90 seconds’ duration, these sequences buck the trend much in evidence elsewhere on television of minimizing such elements drastically and placing such identifiers later in the show. An exploration of the functions and characteristics of television title sequences is followed by an introduction to commercial television marketing and approaches to the audiovisual. The chapter then provides detailed analyses of the title sequences for The Sopranos (1997-2007), with music by Alabama3/A3 (“Woke Up This Morning”) and Six Feet Under (2001-05), with music by Thomas Newman. The relationship between the aesthetic character of the sequences and the institutional context of the serials in question is explored, suggesting that such sequences function as signifiers of the commissioning channel's brand identity.
Multichannel Gaming and the Aesthetics of Interactive Surround
Authors: Kerins Mark 
Published: February 2014

AbstractThis article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.
Music Video Transformed
Authors: Korsgaard Mathias Bonde 
Published: February 2014

AbstractThis article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter asks what music video has become today and how its audiovisual aesthetics have changed online. It suggests that music videos generally through process of remediation content more actively than any other media form, performing the dual function of “visualizing music” (by recasting a song visually) and “musicalizing vision” (by structuring images according to musical logic). The discussion identifies and provides an overview of several new music video types that have come into existence online, placing them in five categories. In particular, the chapter focuses on interactive music videos and music video apps through close analyses of both Arcade Fire’s interactive video “We Used to Wait” and Björk’s interactive “app album” Biophilia. Both of these actively challenge what we have come to expect of music videos while still performing some familiar functions, prompting us to consider whether they are even music videos.
Notes on Sound Design in Contemporary Animated Films
Authors: Thom Randy 
Published: February 2014

Abstract
This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Contemporary animated films are not the cartoons of yore. For the sound designer, an advantage of working on animated films today is the opportunity for early collaboration between sound designer and animators. The sound designer must consider the appropriateness of sound mix with visual style: “Each film calls for its own sound design aesthetic.” Coraline and recent animated films by Robert Zemeckis choose simplicity (no elaborate background, no complex layering of sounds) to match the storytelling. The Incredibles and Bolt have complex, multilayered sound; the point in each case is to achieve clarity.
On Soundscape Methods and Audiovisual Sensibility
Authors: Järviluoma Helmi , Vikman Noora 
Published: February 2014

AbstractThis article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Soundscape concepts have been employed for more than 20 years to enrich audiovisual studies. They have also been debated extensively. This chapter addresses soundscape as shifting, processual, historical, and produced in contingent situations. It focuses on a specific aspect of methodology that is useful for considering how to advance research on the audiovisual: methods in motion. Soundscape studies have stressed that researchers sometimes need to leave the “laboratory” and venture into fieldwork. Some of the recent developments in the “marriage” of soundscape and audiovisual studies are described, with three goals: (1) to direct attention to soundscape studies as the art and scholarly study of listening, (2) to introduce the sensory memory walk, and (3) to introduce the listening walk. Sound studies are increasingly employed as a basis for developing multisensory methodologies of studying times, spaces, and materialities to relocate sensate users of space at the center of the researcher’s attention.