HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades

Synesthesia in Contemporary Music

2022-05-31T14:38:17+02:00

In this work we present the complex relationship between sound and color in musical creation throughout history that continues to be fruitful in current musical composition. Synesthesia in music establishes a correspondence between sound and color and has been a constant debate since the 17th century. The complex nature of sound appears from ancient Greece in the school of Pythagoras in which the number becomes the configurator of harmony. Since then, different aesthetic attempts have arisen to relate color and sound that reach today's electronic procedures in contemporary music.

The Category of Performance in Hannah Arendt

2022-05-17T12:08:49+02:00

The paper inquires the category of performance in Hannah Arendt. Her concept of the political eludes the tradition-inherited approach and subtracts the praxis from instrumental reason. Arendt revisits the political experiences of ancient Greek cities, where tragedy and assembly, theater and agora, provide the propitious space for action. She avoids the instrumental approach of homo faber, conceptualizes action as performance and shows its connaturality with the performing arts, to the detriment of the productive ones. In “What is Freedom?” Arendt understands political freedom as a “worldly fact”, and assesses the Machiavellian virtù as public excellence: as performance on stage.

Freedom and Values

2022-05-18T15:15:07+02:00

This text reflects on the theme of freedom and its relationship with values. To do this, it shows the original approach to this issue present in the thought of the current Spanish philosopher J. M. Méndez. According to the characteristic thinking of this author, freedom does not represent a value but the gateway or the very possibility of participation in any ethical value, as postulated by his axiological liberalism.

Art and Society

2022-06-29T14:01:59+02:00

This article aims to demonstrate how the aesthetical theory of Theodor Adorno represents the very nucleus of Adorno’s “sociological philosophy”. I show why artworks, thanks to the ontological and material elements that constitute them, are the privileged point to comprehend the factors at play in society. In order to achieve this, I investigate particularly the concept of form. With this, I underline how the character of “open form” of modern art claimed by Adorno, though being a manifestation of a contingent historical moment, is able to deeply reflect the character of “openness” of reason, which thus conjugates with the proper function of philosophy.