The International Law Commission (Commission or ILC) held its seventy-fifth session at its seat in Geneva from April 15 to May 31 and from July 1 to August 2, 2024. The Commission was chaired by Mr. Marcelo Vázquez-Bermúdez (Ecuador), and for the first time since its establishment in 1945, elected a majority of three females out of the five officers elected to its bureau annually. The Commission celebrated its seventy-fifth anniversary and progressed its work on the topics in the program of work despite the shortening of the twelve-week General Assembly approved session to ten weeks due to the liquidity crisis facing the United Nations. Following the resignation of two of its members, one upon his election to the International Court of Justice (ICJ) and the other for personal reasons, the Commission elected two new members from Romania and China to fill the casual vacancies that arose as a result.

Stephen Yablo suggested that the relation of mental properties to physical properties is the same as that between red and scarlet: one of determinable property to determinate property. So just as being scarlet is a specific way of being red, on Yablo’s proposal a subject’s having a certain neurological property (c-fibres firing, say) is a specific way of a subject’s having a certain mental property (pain, in this case). I explain the virtues of this theory, in particular as defended and developed by Jessica Wilson, but raise some problems for it. I then describe a novel theory of the mental/physical relationship, which inverts the Yablo-Wilson proposal. On this theory mental properties, notably phenomenal properties – or, as I will say, qualia – are determinates of determinable physical properties. I explain the virtues of this view, and argue that they at least match, and plausibly exceed, those of the Yablo-Wilson theory. In particular, this new theory is able to account for certain prominent perplexities of the mind/body problem that tend to go unexplained. I distinguish the view from nearby theories, in particular the increasingly popular ‘Russellian monism’. I end by likening it to a recent interpretation of Aristotle’s philosophy of mind due to David Charles.

This article investigates marriage as a site for the historical study of time. Focusing on Hindu marriage in South Asia between the seventeenth and nineteenth centuries, the article studies (a) how the moment of a marriage is made and documented through what the article calls ‘temporal practices’, and (b) how, once this moment is made and documented, it is put to use in and for a marriage ceremony. The article has three sections. In the first section, it discusses the device used to measure the time of the marriage ceremony: the water clock. This section also addresses how the water clock was used, and who used it, within the marriage ceremony; and registers a shift in the nineteenth century from the water clock to the mechanical clock. In the second section, the article discusses documentary practices that record the moment of a marriage and addresses historical changes related to these practices in the nineteenth century. In the third section, the article examines the work that the moment of a marriage does once it has been brought into being and documented. This section argues that the moment of a marriage frames and makes efficacious a certain action through which the bride and groom are transformed. The article concludes by arguing that the moment of a marriage temporally regulates the activities of the marriage ceremony and explores how this moment reconfigures relations to the past and future for the bride and groom.

Luciano Berio's name appears once in the 1,134-page Oxford Handbook of Western Music and Philosophy (2021), yet his poetics sits among the most profound and expansive of the twentieth century. By the mid-1960s Berio was writing lucidly about tensions between synchronic and diachronic meaning. Such works as Sinfonia, the Sequenze and the electroacoustic output are radical applications of these ideas, yet they have been claimed by the proponents of the very structures they challenge and their meanings effectively reduced, notwithstanding Berio's insistence and clarity across his substantial writings. This article characterises Berio's work according to his poetics, demonstrating the ways in which Sinfonia actively stages the mechanisms of musical meaning, before situating Berio's writing in a context of contemporary theories of meaning. Particular comparison is made to the work of Harold Bloom, whose words transformed poetic discourse in the 1970s.