Content Description #Includes bibliographical references and index.

Content Description #Includes bibliographical references and index.

Content Description #Includes bibliographical references and index.

This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos of DIY in punk music. The book’s four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.

While Michel Foucault’s philosophy has been widely influential, it is difficult to grasp in its entirety. The premise of this book is that through the concept of practice a new kind of coherence can be perceived in his work. The focus of the book is the role of practice in the three axes of Foucault’s philosophy: knowledge, power and ethics. This provides a deeper understanding of his central philosophical question: “How have humans become objects of their own thought?” Practices and Thought in Michel Foucault’s Philosophy offers a concise introduction to Foucault’s main philosophical ideas. It also makes an original contribution to scholarly discussions of his key concepts and their development in his works.

This book demonstrates how Deleuze's philosophy provides us with a novel and important notion of historical creativity - that is, a way of thinking about history as an ontological force of creativity.

In the final decades of the twentieth century, the advent of evolutionary developmental biology (evo-devo) offered a revolutionary new perspective that transformed the classical neo-Darwinian, gene-centered study of evolution. In The Architecture of Evolution, Marco Tamborini demonstrates how this radical innovation was made possible by the largely forgotten study of morphology. Despite the key role morphology played in the development of evolutionary biology since the 1940s, the architecture of organisms was excluded from the Modern Evolutionary Synthesis. And yet, from the beginning of the twentieth century to the 1970s and ’80s, morphologists sought to understand how organisms were built and how organismal forms could be generated and controlled. The generation of organic form was, they believed, essential to understanding the mechanisms of evolution. Tamborini explores how the development of evo-devo and the recent organismal turn in biology involved not only the work of morphologists but those outside the biological community with whom they exchanged their data, knowledge, and practices. Together with architects and engineers, they worked to establish a mathematical and theoretical basis for the study of organic form as a mode of construction, developing and reinterpreting important notions that would play a central role in the development of evolutionary developmental biology in the late 1980s. This book sheds light not only on the interdisciplinary basis for many of the key concepts in current developmental biology but also on contributions to the study of organic form outside the English-speaking world.