It seems have something with Autopoieisis thing.

i felt celtic &Forth world music power .
blues scale has no dominant motion.
Flat7 ,minor3 bring ambiguous "Timbre"(Neiro)
It seems have something with Autopoieisis thing.
Zep ,tool,AlC,Dead can dance,kol sonzlgn,
merzbow,megaptera,vangelis ,etc understood
it with unconscious. best regards

Dr. Elie During - Beyond the Mind-Body Problem

An excerpt of Elie During, PhD introducing the topic for a panel discussion entitled: Beyond the Brain: The Experiential Implications of Neurotheology.


Part of a Nour Foundation panel discussion at the September 11, 2008 United Nations symposium, "Beyond the Mind-Body Problem: New Paradigms in the Science of Consciousness," inspired by the philosophy of Ostad Elahi.

Hélène Cixousア etc

Frantz Fanon (July 20, 1925 – December 6, 1961) was a psychiatrist, philosopher, revolutionary, and author from Martinique. He was influential in the field of post-colonial studies and was perhaps the pre-eminent thinker of the 20th century on the issue of decolonization and the psychopathology of colonization.[1] His works have inspired anti-colonial liberation movements for more than four decades.[2]


Hélène Cixous was born in Oran, Algeria, to a German Ashkenazi Jewish mother and Algerian Sephardic Jewish father. She earned her agrégation in English in 1959 and her Doctorat es lettres in 1968. Her main focus, at this time, was English literature and the works of James Joyce. In 1968, she published L'Exil de James Joyce ou l'Art du remplacement (The Exile of James Joyce, or the Art of Displacement) and the following year she published her first novel, Dedans (Inside), a semi-autobiographical work that won the Prix Médicis. She is a professor at the University of Paris VIII, whose center for women's studies, the first in Europe, she founded. She has published widely, including twenty-three volumes of poems, six books of essays, five plays, and numerous influential articles. She published Voiles (Veils) with Jacques Derrida and her work is often considered deconstructive. In introducing her Wellek Lecture, subsequently published as Three Steps on the Ladder of Writing, Derrida referred to her as the greatest living writer in his language (French). Cixous wrote a book on Derrida titled Portrait de Jacques Derrida en jeune saint juif (Portrait of Jacques Derrida as a Young Jewish Saint). In addition to Derrida and Joyce, she has written monographs on the work of the Brazilian writer Clarice Lispector, on Maurice Blanchot, Franz Kafka, Heinrich von Kleist, Michel de Montaigne, Ingeborg Bachmann, Thomas Bernhard, and the Russian poet Marina Tsvetaeva.

Luce Irigaray (born 1932 Belgium) is a Belgian feminist, philosopher, linguist, psychoanalytic, sociologist and cultural theorist. She is best known for her works Speculum of the Other Woman (1974) and This Sex Which Is Not One (1977).Contents [hide]
1 Biography
Irigaray received a Master's Degree in Philosophy & Arts from the University of Louvain (Leuven) in 1955. She taught in a Brussels school from 1956-1959. She moved to France in the early 1960s. In 1961 she received a Master's Degree in psychology from the University of Paris. In 1962 she received a Diploma in Psychopathology. From 1962-1964 she worked for the Fonds National de la Recherche Scientifique (FNRS) in Belgium. She then began work as a research assistant at the Centre National de la Recherche Scientifique (CNRS) in Paris.

In the 1960s Irigaray participated in Jacques Lacan's psychoanalytic seminars. She trained as and became an analyst. In 1968 she received a Doctorate in Linguistics. In 1969 she analysed Antoinette Fouque, a leader of the French women's movement. From 1970-1974 she taught at the University of Vincennes. At this time Irigaray was a member of the École Freudienne de Paris (EFP), a school directed by Lacan.

Irigaray's second Doctorate thesis, "Speculum of the Other Woman," was closely followed by the termination of her employment at Vincennes University.

In the second semester of 1982, Irigaray held the chair in Philosophy at the Erasmus University in Rotterdam. Her research here resulted in the publication of An Ethics of Sexual Difference, establishing Irigaray as a major Continental philosopher.

Irigaray has conducted research since the 1980s at the Centre National de Recherche Scientifique in Paris on the difference between the language of women and the language of men. In 1986 she transferred from the Psychology Commission to the Philosophy Commission as the latter is her preferred discipline.

In December 2003, Luce Irigaray was awarded the degree of Doctor of Literature honoris causa by the University of London. From 2004-2006, Irigaray was a visiting professor in the department of Modern Languages at the University of Nottingham. As of 2007, she will be affiliated with the University of Liverpool.

In 2008, Luce Irigaray was awarded the honorary degree of Doctor of Literature by University College, London.
Contributions to feminist theory



Irigaray is inspired by the psychoanalytic theories of Freud and Jacques Lacan, the philosophy of Emmanuel Levinas and the deconstruction of Jacques Derrida. Her work aims to reveal a perceived masculinist philosophy underlying language and gestures toward a "new" feminine language that would allow women to express themselves if it could be spoken. Irigaray's work also challenges what she calls phallogocentrism, noting that society’s two gender categories, man and woman, are in fact just one, man, as he is made the universal referent, and therefore working towards a theory of difference.

Irigaray's aim is to create two equally positive and autonomous terms, and to acknowledge two (at least, she sometimes adds) sexes, not one. Following this line of thought, with Lacan’s mirror stage, Lacan's theory concerning forms of "sexuation", and Derrida’s theory of logocentrism in the background, Irigaray also criticises the favouring of unitary truth within patriarchal society. In her theory for creating a new disruptive form of feminine writing (Écriture féminine), she focuses on the child’s pre-Oedipal phase when experience and knowledge is based on bodily contact, primarily with the mother. Here lies one major interest of Irigaray's: the mother-daughter relationship, which she considers devalued in patriarchal society. In the realm of Feminist theory, Irigaray is one of the most prominent figures of what is sometimes called French feminism, (called so, misleadingly in the opinion of Simone de Beauvoir)[1], alongside Julia Kristeva and Hélène Cixous.

 

Renowned Choreographer Merce Cunningham Dies at 90

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Merce Cunningham: 1919 - 2009
Renowned choreographer Merce Cunningham dies at 90.
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By Sarah Kaufman
Washington Post Staff Writer
Monday, July 27, 2009; 11:40 AM


Merce Cunningham, the avant-garde choreographer whose unorthodox approaches and discoveries throughout a six-decade career made him one of the most important artists of the 20th century, influencing filmmakers and directors as well as choreographers worldwide, died Sunday night, the Merce Cunningham Dance Foundation said. He was 90.
 

Frisco Mabel Joy Revisited

. Prologue

2. American Trilogy

3. How Many Times (Must the Piper Be Paid for His Song)

4. Interlude [Side A]

5. Future's Not What It Used to Be

6. Mobile Blue

7. Frisco Depot

8. You're Not My Same Sweet Baby

9. Interlude [Side B]

10. Remember the Good

11. Swiss Cottage Place

12. How I Love Them Old Songs

13. San Francisco Mabel Joy [*]

---

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From Amazon.com
Perhaps due to his reclusive nature or perhaps it was his iconoclastic vision, but Mickey Newbury slipped through the cracks. His peers--figures such as Kris Kristofferson, Willie Nelson, and Townes Van Zandt--have often celebrated his genius, but his own artistic output, some 15 albums in 30 years, remains little known. Frisco Mabel Joy, his 1971 debut for Elektra, is his masterpiece: an ambitious, orchestrated concept album, a commanding vision of the American soul. Rather than picking and choosing from his vast output, this tribute addresses Newbury's neglect by matching a mostly younger generation of singer-songwriters and alternative-country troubadours with that great Newbury album. Interpretations from the likes of Chuck Prophet, the Walkabouts, Dave Alvin, and Bob Neuwirth alternate between acoustic intimacy and lush soundscapes. Jazz guitarist Bill Frisell contributes atmospheric instrumental interludes between songs and helps bind the distinct voices into one elegiac whole. And though the song was absent from the original Frisco Mabel Joy, Kristofferson's gruff but perceptive version of "San Francisco Mabel Joy" closes this fascinating, loving, and successful homage. --Roy Kasten
*influenced usyukuro bands ,ovdk,makryham,kol sonzlgn