Tag: Philosophy and the Arts,


Musical Meaning as Embodied Meaning: The Case of Horror Film Music

The film sound theorist K. J. Donnelly’s essay ‘Demonic possession: horror film music’ (2005) famously remarks that some horror film music attempts at a ‘direct engagement with the physical’ in that they trigger bodily effects ‘bypassed culture’s learned structures’. Donnelly notes that his ‘direct-access thesis’ of (horror) film music is subject to challenge from the


Communicating Knowledge about the World: Reflective, Collaborating Artists

Art and film-making practices are shared across linguistic and socially diverse social contexts, reflecting a variety of ways of knowing about the world, or epistemological views. There are points of connection and dissonance when one works with a cultural group that shares little of the language and cultural practice that an individual identifies as their