Philip Thomas – författare

John Cage's Concert for Piano and Orchestra is one of the seminal works of the second half of the twentieth century, and the centerpiece of the middle period of Cage's output. It is a culmination of Cage's work up to that point, incorporating notation techniques he had spent the past decade developing - techniques which remain radical to this day. But despite Cage's vitality to the musical development of the twentieth century, and the Concert's centrality to his career, the work is still rarely performed and even more rarely examined in detail.In this volume, Martin Iddon and Philip Thomas provide a rich and critical examination of this enormously significant piece, tracing its many contexts and influences - particularly Schoenberg, jazz, and Cage's own compositional practice - through a wide and previously untapped range of archival sources. Iddon and Thomas explain the Concert through a reading of its many histories, especially in performance - from the legendary performer disobedience and audience disorder of its 1958 New York premiere to a no less disastrous European premiere later the same year. They also highlight the importance of the piano soloist who premiered the piece, David Tudor, and its use alongside choreographer Merce Cunningham's Antic Meet. A careful examination of an apparently bewildering piece, the book explores the critical response to the Concert's performances, re-interrogates the mythology surrounding it, and finally turns to the music itself, in all its component parts, to see what it truly asks of performers and listeners.

How are we to make sense of madness and psychosis? For most of us the words conjure up images from television and newspapers of seemingly random, meaningless violence. It is something to be feared, something to be left to the experts. But is madness best thought of as a medical condition? Psychiatrists and the drug industry maintain that psychoses are brain disorders amenable to treatment with drugs, but is this actually so? There is no convincing evidence that the brain is disordered in psychosis, yet governments across the world are investing huge sums of money on mental health services that take for granted the idea that psychosis is an illness to be treated with medication. Although some people who use mental health services find medication helpful, many do not, and resist the idea that their experiences are symptoms of illnesses like schizophrenia. Consequently they are forced into having treatment against their wishes. So, how do we make sense of this situation?Postpsychiatry addresses these questions. It involves an attempt to rethink some of the fundamental assumptions of mental health work, showing how recent developments in philosophy and ethics can help us to clarify some of the dilemmas and conflicts around different understandings of madness. Throughout, the authors examine the conflicting ways in which politicians, academics, and mental health professionals appear to understand madness, and contrast this with voices and experiences that are usually excluded - those of the people who use mental health services. They then examine the power of psychiatry to shape how we understand ourselves and our emotions, before considering some of the basic limitations of psychiatry as science to make madness meaningful. In the final section of the book they draw on evidence from service users and survivors, the humanities and anthropology, to point out a new direction for mental health practice. This new direction emphasises the importance of cultural contexts in understanding madness, placing ethics before technology in responding to madness, and minimising 'therapeutic' coercion.

Records of people experiencing verbal hallucinations or 'hearing voices' can be found throughout history. Voices of Reason, Voices of Insanity examines almost 2,800 years of these reports including Socrates, Schreber and Pierre Janet's "Marcelle", to provide a clear understanding of the experience and how it may have changed over the millenia. Through six cases of historical and contemporary voice hearers, Leudar and Thomas demonstrate how the experience has metamorphosed from being a sign of virtue to a sign of insanity, signalling such illnesses as schizophrenia or dissociation.They argue that the experience is interpreted by the voice hearer according to social categories conveyed through language, and is therefore best studied as a matter of language use. Controversially, they conclude that 'hearing voices' is an ordinary human experience which is unfortunately either mystified or pathologised.Voices of Reason, Voices of Insanity offers a fresh perspective on this enigmatic experience and will be of interest to students, researchers and clinicians alike.

Christian Wolff is a composer who has followed a distinctive path often at the centre of avant-garde activity working alongside figures such as John Cage, Merce Cunningham, and Cornelius Cardew. In a career spanning sixty years, he has produced a significant and influential body of work that has aimed to address, in a searching and provocative manner, what it means to be an experimental and socially aware artist. This book provides a wide-ranging introduction to a composer often overlooked despite his influence upon many of the major figures in new music since the 1950s from Cage to John Zorn to the new wave of experimentalists across the globe. As the first detailed analysis of the music of this prolific and highly individual composer, Changing the System: The Music of Christian Wolff contains contributions from leading experts in the field of new and experimental music, as well as from performers and composers who have worked with Wolff. The reception of Wolff's music is discussed in relation to the European avant-garde and also within the context of Wolff's association with Cage and Feldman. Music from his earliest compositions of the 1950s, the highly indeterminate scores, the politically-inspired pieces up to the most recent works are discussed in detail, both in relation to their compositional techniques, general aesthetic development, and matters of performance. The particular challenges and aesthetic issues arising from Wolff's idiosyncratic notations and the implications for performers are a central theme. Likewise, the ways in which Wolff's political persuasions - which arguably account for some of the notational methods he chooses - have been worked out through his music, are examined. With a foreword by his close associate Michael Parsons, this is a valuable addition to experimental music literature.

Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He left only a few law journal articles as his published work. His 'Fundamental Legal Conceptions', originally published as two articles in the 'Yale Law Journal' for 1913 and 1917 and left incompletely revised at his death is, however, one of the principal foundations of analytic jurisprudence. The analysis of rights that Hohfeld offers is still regularly cited and relied upon by both lawyers and philosophers, and it is treated as a source of insight into the nature of moral rights as well as the legal rights that were Hohfeld’s own focus of concern. Although some of his analytical distinctions were anticipated by earlier jurists, their insights were fragmentary and imperfect by comparison. Hohfeld’s systematic and exhaustive (yet concise) treatment is generally regarded as unsurpassed. This is not to say that he has not been criticized, but his book forms the essential starting point for any discussion of the nature and structure of rights. 'Fundamental Legal Conceptions' has long been difficult to obtain. This new edition makes this classic of analytic jurisprudence available with a comprehensive introduction by Dr. N.E. Simmonds of Corpus Christi, University of Cambridge, UK.

Christian Wolff is a composer who has followed a distinctive path often at the centre of avant-garde activity working alongside figures such as John Cage, Merce Cunningham, and Cornelius Cardew. In a career spanning sixty years, he has produced a significant and influential body of work that has aimed to address, in a searching and provocative manner, what it means to be an experimental and socially aware artist. This book provides a wide-ranging introduction to a composer often overlooked despite his influence upon many of the major figures in new music since the 1950s from Cage to John Zorn to the new wave of experimentalists across the globe. As the first detailed analysis of the music of this prolific and highly individual composer, Changing the System: The Music of Christian Wolff contains contributions from leading experts in the field of new and experimental music, as well as from performers and composers who have worked with Wolff. The reception of Wolff's music is discussed in relation to the European avant-garde and also within the context of Wolff's association with Cage and Feldman. Music from his earliest compositions of the 1950s, the highly indeterminate scores, the politically-inspired pieces up to the most recent works are discussed in detail, both in relation to their compositional techniques, general aesthetic development, and matters of performance. The particular challenges and aesthetic issues arising from Wolff's idiosyncratic notations and the implications for performers are a central theme. Likewise, the ways in which Wolff's political persuasions - which arguably account for some of the notational methods he chooses - have been worked out through his music, are examined. With a foreword by his close associate Michael Parsons, this is a valuable addition to experimental music literature.

This book seeks to examine the impact of the Human Rights Act legislation from the viewpoint of judges, lawyers, civil libertarians, politicians and academics. Investigation of the Human Rights Act since it came into force in 2000. Contributors include Sir Stephen Sedley, Thomas Mullen, Roger Smith and Lord Lester of Herne Hill. Offers insights and suggestions for developing a more effective, accessible and successful employment of the Human Rights Act.

Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He left only a few law journal articles as his published work. His 'Fundamental Legal Conceptions', originally published as two articles in the 'Yale Law Journal' for 1913 and 1917 and left incompletely revised at his death is, however, one of the principal foundations of analytic jurisprudence. The analysis of rights that Hohfeld offers is still regularly cited and relied upon by both lawyers and philosophers, and it is treated as a source of insight into the nature of moral rights as well as the legal rights that were Hohfeld’s own focus of concern. Although some of his analytical distinctions were anticipated by earlier jurists, their insights were fragmentary and imperfect by comparison. Hohfeld’s systematic and exhaustive (yet concise) treatment is generally regarded as unsurpassed. This is not to say that he has not been criticized, but his book forms the essential starting point for any discussion of the nature and structure of rights. 'Fundamental Legal Conceptions' has long been difficult to obtain. This new edition makes this classic of analytic jurisprudence available with a comprehensive introduction by Dr. N.E. Simmonds of Corpus Christi, University of Cambridge, UK.