This innovative book, assembled by the editors of the renowned periodical Terra Nova, is the first anthology published on the subject of music and nature. Lush and evocative, yoking together the simplicities and complexities of the world of natural sound and the music inspired by it, this collection includes essays, illustrations, and plenty of sounds and music. The Book of Music and Nature celebrates our relationship with natural soundscapes while posing stimulating questions about that very relationship. The book ranges widely, with the interplay of the texts and sounds creating a conversation that readers from all walks of life will find provocative and accessible. The anthology includes classic texts on music and nature by 20th century masters including John Cage, Hazrat Inrayat Khan, Pierre Schaeffer, Rainer Maria Rilke, and Toru Takemitsu. Innovative essays by Brian Eno, Pauline Oliveros, David Toop, Hildegard Westerkamp and Evan Eisenberg also appear. Interspersed throughout are short fictional excerpts by authors Rafi Zabor, Alejo Carpentier, and Junichiro Tanazaki. The audio material for the book, available online at http://www.wesleyan.edu/wespress/musicandnaturecd/, includes fifteen tracks of music made out of, or reflective of, natural sounds, ranging from Babenzele Pygmy music to Australian butcherbirds, and from Pauline Oliveros to Brian Eno.

This latest philosophical text by John Sallis is inspired by the work of contemporary Chinese painter Cao Jun. It carries out a series of philosophical reflections on nature, art, and music by taking up Cao Jun's art and thought, with a focus on questions of the elemental. Sallis's reflections are not a matter of simply relating art works to philosophical thought, as theoretical insights and developments run throughout Cao Jun's writings and inform many of his artistic works. Sallis maintains abundant points of contact with Chinese philosophical traditions but also with Western philosophy. In these reflections on art, Sallis poses a critique of mimesis and considers the relation of painting to music. He affirms his conviction that the artist must always turn to nature, especially as reflections on the earth and sky delimit the scale and place of what is human. Full-color illustrations enhance this provocative and penetrating text.

This volume, honoring the renowned historian of science, Allen G Debus, explores ideas of science - `experiences of nature' - from within a historiographical tradition that Debus has done much to define. As his work shows, the sciences do not develop exclusively as a result of a progressive and inexorable logic of discovery. A wide variety of extra-scientific factors, deriving from changing intellectual contexts and differing social millieus, play crucial roles in the overall development of scientific thought. These essays represent case studies in a broad range of scientific settings - from sixteenth-century astronomy and medicine, through nineteenth-century biology and mathematics, to the social sciences in the twentieth-century - that show the impact of both social settings and the cross-fertilization of ideas on the formation of science. Aimed at a general audience interested in the history of science, this book closes with Debus's personal perspective on the development of the field. Audience: This book will appeal especially to historians of science, of chemistry, and of medicine.

Through cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man’s effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addressed, the analogy to architecture will be evident and important. Thus, by using the concept of ’raw’ as a focal point, this book provides new approaches to architecture in a broad sense, as well as other aesthetic and artistic practices, and will be of interest to readers from different fields of the arts and humanities, spanning from philosophy and theology to history of art, architecture and music.

Insights on life and Spirit and the Spirit of nature for encouragement. By Brucie Hibma

How can anthropology improve our understanding of the interrelationship between nature and culture?- What can anthropology contribute to practical debates which depend on particular definitions of nature, such as that concerning sustainable development?Humankind has evolved over several million years by living in and utilizing 'nature' and by assimilating it into 'culture'. Indeed, the technological and cultural advancement of the species has been widely acknowledged to rest upon human domination and control of nature. Yet, by the 1960s, the idea of culture in confrontation with nature was being challenged by science, philosophy and the environmental movement. Anthropology is increasingly concerned with such issues as they become more urgent for humankind as a whole. This important book reviews the current state of the concepts of 'nature' we use, both as scientific devices and ideological constructs, and is organised around three themes:- nature as a cultural construction;- the cultural management of the environment; and- relations between plants, animals and humans.

Exploring Aristotle's concept of logos, this volume advances our understanding of it as a singular feature of human nature by arguing that it is the organizing principle of human life itself. Tracing its multiple meanings in different contexts, including reason, logic, speech, ratio, account, and form, contributors highlight the ways in which we can see logos in human thinking, in the organizing principles of our bodies, in our perception of the world, in our social and political life, and through our productive and fine arts. Through this focus, logos reveals itself not as one feature amongst others, but instead as the feature that organizes all others, from the most “animal” to the most “spiritual.” By presenting logos in this way, readers gain a complex account of the philosophy of human nature.