What is the subaltern of the comparative philosophy of religion?

It is claimed that Comparative Philosophy of Religion (CPR) mistakenly builds on the dogmas of comparative religion (or history of religions) and philosophy of religion. Thus, the belief that there are things common and therefore comparable between two or more traditions and that these objects of comparison are of philosophical or theological significance are questions that continue to trouble the field. Just what does one compare, how does one choose what to compare or why, through what methodological and epistemic tools, and who is it that carries out the tasks? But what has remained unasked and unanalyzed are the larger meta-questions concerning the motivation, civilizational presuppositions, cultural parochialism, or legacies of orientalism, modernity, and (post-)colonialism that together affect the boundedness of certain key categories and thematic issues in the comparative enterprise such as God or the Transcendent, Creation, the Problem of Evil, the Afterlife, Sin, Redemption, Purpose, and the End. Is difference with respect to alterity and altarity permissible? If so, what a postcolonial, differently gendered, cross-cultural critique would look like and what is left of CPR are two such questions explored here.

Home, school, community and their role in the provision of music education

The Department of Education, Science and Training (DEST), is supporting under the Australian Government Quality Outcomes Programme, a National Review of School Music Education. The review, which is intended to submit its report in mid 2005, is interested in investigating the current quality of teaching and learning of music in both primary and secondary schools. It aims to provide examples of best practice of teaching and learning of music, along with a set of recommendations for the development of future approaches and directions to improve the quality of music education offerings in Australian schools. This paper puts forward some proposals for consideration that will be forwarded to the Review and aims to generate debate about future approaches to the delivery of music education in Australian primary schools.
It argues that the home, school and community all have an important part to play in the music education of children, but that at present these three entities are insufficiently connected on a number of fronts, not least being an understanding about the purpose of young people’s engagement with music. There is no doubt that interest in the arts amongst Australians generally is high. A recent Australia Council report revealed that 85 per cent of its respondents agreed the arts are and should be an important part of the education of every young Australian and that what was needed was better arts education and opportunities for all young people. However, the opportunities need not be confined to those offered by the school sector. Engagement with out-of-school music includes both music encountered in the home, which may be affected by family influence, and music provided by the diversity of community organizations, which serve a real and complimentary role to classroom learning and achieve learning outcomes that schools often do not have the resources to foster. A number of proposals for action are suggested for consideration by those involved in education as a means of progressing the discussion. It asserts that there is much valuable activity occurring within the three locales of school, home and community, but a firmer relationship could be forged across all three to ensure young people’s on-going, life-long enjoyable engagement with music.

Investigation of the value chain for creative products : a phenomenological study of the perceptions of music intermediaries

During the past decade, innovative digital technology and Internet marketplaces have created a variety of 'phenomena' of businesses, media and institutions considered to be important interaction channels in the music industry, along with an influx of Peer-to-Peer services such as Napster, and Kazaa shifting the business models of major music labels and distributors. Considering the Australian Music Association reported an annual retail turnover of approximately $300 million in 1992 and later in 1999, an increase in figures reported at $396.8 million with the inclusion of music DVD sales, the notion of value-adding to a music product emerges as a profitable venture at each length of the music industry's value chain. In spite of this, Australian studies have often overlooked the underlying perceptions, fears and ideas of those working within the value chain, especially regarding the impact of new technology on their roles. This paper identifies the perceptions of various intermediaries within the Australian Music Industry, identifying common themes and viewpoints amongst the study's participants. Consequently, the paper concluded that the perception of value in the music industry is somewhat influenced by a variety of factors, including music knowledge, communication and dependence on intermediaries to name a few. Common themes were revealed throughout the study include the perception of competitive advantage, new opportunities from new technology and the notion of defining a gimmick versus Value-Adding emerged as indicative of adding value from the study participants.

Defuturing an architecture of destruction: a reconciliation of Van Berkel and Bos to the new design philosophy of Tony Fry

For some time now Tony Fry has promoted the idea of 'The Sustainment', an idea that asserts a paradigm shift in attitudes to consumption. 'The Sustainment' recognises that increasingly human futures are products of self-determination and not chance. Fry’s hypothesis can be understood through his concept of Defuturing, a philosophy that questions the role of design and the responsibility of designers to facilitating the ability to sustain (Fry 1999).
Central to Fry’s philosophy is an awareness that it is in the best interests of designers and their clients, as inhabitants of cultures increasingly driven by technology, to be aware of the relationships between the products and theories of design and the processes and implications of technological change. This is an awareness that is central to the concepts, work, and methodologies of the ‘UN Studio’ of Van Berkel and Bos described and elaborated upon in Move – Imagination, Techniques, and Effects (Van Berkel & Bos 1999). Here, Ben Van Berkel defines the parameters and methodologies employed by UN Studio in an environment of technological and socio-economic change. The Dutch practice could be said to exemplify something of a zeitgeist in current architectural design that sees architects, as Van Berkel and Bos view them, as “fashion designers of the future, dressing events to come and holding up a mirror to the world (Van Berkel & Bos 1999, back cover).” It is a zeitgeist that Fry might see as aligned to the resilient hype of ‘new creativity’, ‘globalisation’ the ‘romance with technology’, and the vacuous-ness of the world of fashion. (Fry The Voice of Sustainment: on Design Intelligence 2005).
A source of breaking down such design propaganda is identified by Fry in the notion of ‘scenarios,’ which “provide a mechanism for politico-practice assemblage in which dialogues and narratives of change can be rehearsed in ways that enable participants to re-educate themselves via critical confrontations” (Fry The Voice of Sustainment: on Design Intelligence 2005). From such a perspective this paper aims to practically illustrate and ground the Defuturing of Fry by establishing a dialogue between his writings and the theories that have generated the architectural designs of Van Berkel and Bos and there UN Studio. This will be a ‘scenario’ that examines therefore an appropriation and transformation of the applied intellectual practice of Van Berkel and Bos. Through this confrontation we shall explore the question of why sustainability appears to be so low in the agenda of many pre-eminent contemporary architects, and how we might refocus therefore practice and theory on the ability to sustain.

From music to silence: an exploration of music-thanatology vigils at end of life

Research in Australia into use of music-thanatology, evaluating provision of harp music in vigils with palliative care patients in a hospice. The concept of music-thanatology is outlined, and the findings of the study in alleviating suffering and creating tranquil environments are reported.

A scheme for content based retrieval of music data in MIDI format

With phenomenal increases in the generation and storage of digital audio data in several applications, there is growing need for organizing audio data in databases and providing users with fast access to desired data. This paper presents a scheme for the content-based query and retrieval of audio data stored in MIDI format. This is based on extraction of melody from the MIDI files and suitably comparing with the melody of the query. The results of retrieval using the proposed algorithm are presented.