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published_or_final_version / Music / Master / Master of Philosophy

高慧玲. / 手稿本(複印本) / Thesis (M.A.)--香港中文大學, 1991. / Shou gao ben (fu yin ben) / Includes bibliographical references (leaves 87-99). / Gao Huiling. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1991. / Chapter ´第¡章 --- 音樂的意義 / Chapter （一） --- Hospers的觀點 --- p.3-6 / Chapter （二） --- 對Hospers的駁斥 --- p.7-11 / Chapter （三） --- 音樂與符號 --- p.Dec-18 / Chapter （四） --- 表徵與表現 --- p.19-22 / Chapter ´第Ł章 --- 表徵論 / Chapter （一） --- 三種符號 --- p.23-26 / Chapter （二） --- 歌曲與表徵作用 --- p.27-31 / Chapter （三） --- 樂曲與表徵作用 --- p.32-51 / Chapter ´第Ø章 --- 表現論 / Chapter （一） --- 「表情」的三個向度 --- p.52-57 / Chapter （二） --- 音樂與情感的抒發 --- p.58-60 / Chapter （三） --- 音樂與情感的喚起 --- p.61-66 / Chapter （四） --- 音樂與情感的顯露 --- p.67-76 / 總結 --- p.77-79 / 註釋 --- p.80-86 / 書目 --- p.87-99

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Conceptual Art (henceforth CA) has the peculiar status of being at once a neglected topic in philosophical aesthetics, and one on which a degree of philosophical weight disproportionate to the attention it has received is placed. On the one hand it is frequently mentioned by philosophers as a problematic case, one that general theories of art have difficulty dealing with, but on the other, there is a notable lack of philosophical research taking CA as its focus. It is largely taken as a given that CA is radically different from other art in various ways and thus poses problems for some of the general statements about art that philosophers tend to make. But it is striking that these claims are not, for the most part, grounded in a thorough investigation into the nature of CA. The purpose of my research is to conduct such an investigation; to address the question of what CA is, and what makes it different from other art, in order to come to a clearer view of what particular philosophical issues or difficulties CA raises for the philosophy of art. In existing literature on CA, it is standard to take CA’s distinctiveness to have something to do with the importance of ‘ideas’. I investigate what could be meant here by ‘idea’, and identify two broad schools of thought as to what form this emphasis on ideas in CA takes: Priority Accounts, which claim that in CA ideas are the most important aspect of the work and Constitution Accounts, which claim that works of CA are ideas. I identify serious problems for Constitution Accounts, in general, and for some kinds of Priority Account. I then put forward a new kind of Priority account which I think overcomes the problems faced by its rivals.

Throughout history magic has been an art that has instilled awe and wonder in its spectators. The magician used to be held in high esteem, as teacher, as scientist, as priest and even as philosopher. This being the case, throughout the history of philosophy, philosophers have deemed magic to be deception, to be a mode of misleading people into believing what is not true. Through the modern philosophical era, philosophers have been seeking a purely scientific method for questioning reality. It seems that, today, even the magician views his or her art as mere entertainment. The purpose of my thesis is to dispel the belief that magic is purely a hobby with no artistic value and that, like other artworks, magic too can cause one to question existence. / by Mark J. Gobeo. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.

Some artists strive to create artwork that has aesthetic value. If a piece of artwork has the ability to capture the attention of an audience, it must contain strong sensual attributes. Thus, understanding how to design an art form to contain strong sensual attributes may increase the possibility of an aesthetic experience. Since aesthetics is an experience of sensations perceived when in contact with a creative form in any artistic discipline, it is necessary for an artist to understand the nature of the sensual experience. In understanding the sensual experience, artists may be able to create techniques to enhance the aesthetic experience of their work. My video piece, entitled Ararat is a study of methods to enhance the sensual experience. I hope to accomplish this by means of using techniques that optimize an audience's perceptual experience.

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