Sound

Edited by Casey O'Callaghan (Washington University in St. Louis)
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  1. The Event of Rarefaction: A Defence and Development of The Wave Theory of Sound.Mark Eli Kalderon - manuscript
    I defend and develop a traditional view in the metaphysics of sound, The Wave Theory of Sound. According The Wave Theory, as developed herein, sounds are not patterned disturbances so much as their propagation. And the propagation of a patterned disturbance is not a form of travel, but a dynamic in-formation, the wave-form successively inhering in diferently located parts of the dense and elastic medium. This conception, along with the assumption that we hear not only sounds but their sources, has (...)
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  2. Silence Perception and Spatial Content.Błażej Skrzypulec - forthcoming - Australasian Journal of Philosophy 1:1-15.
    It seems plausible that visual experiences of darkness have perceptual, phenomenal content which clearly differentiates them from absences of visual experiences. I argue, relying on psychological results concerning auditory attention, that the analogous claim is true about auditory experiences of silence. More specifically, I propose that experiences of silence present empty spatial directions like ‘right’ or ‘left’, and so have egocentric spatial content. Furthermore, I claim that such content is genuinely auditory and phenomenal in the sense that one can, in (...)
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  3. L’orecchio e lo sguardo. Introduzione a una fenomenologia dell’immagine sonora.Elia Gonnella - 2022 - Roma RM, Italia: Aracne.
    I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...)
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  4. Tendere l’orecchio. L’attenzione nel processo uditivo: neuroscienze e antropologia in dialogo.Elia Gonnella - 2022 - Palaver 11 (2):231-248.
    Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...)
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  5. Knowing Through Hearing, Towards an Epistemology of Auditory Perception.Jorge Luis Méndez-Martínez - 2022 - Epistemology and Philosophy of Science 59 (2):168-182.
    This paper proposes some guidelines for the undeveloped discussion of auditory epistemology. Auditory epistemology is an approach concerned with the perceptual basis for knowledge and belief, specifically around audition. The article pursues two goals. Firstly, it claims that addressing auditory perception from the viewpoint of epistemology is more fruitful than the discussion on phenomenology which has thus far dominated the debates in the literature on sound. Secondly, it elaborates a concrete proposal pertaining to the cooperation of sense-modalities. In so doing, (...)
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  6. Does Loudness Represent Sound Intensity? (Preprint).Kim Soland - 2022 - Synthese 200 (2):1-27.
    In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal character that is determined (...)
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  7. Sonic Pictures.Jason P. Leddington - 2021 - Journal of Aesthetics and Art Criticism 79 (3):354-365.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...)
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  8. Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism.Iain Campbell - 2020 - Contemporary Music Review 39 (5):618-637.
    This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...)
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  9. Una fenomenologia all’ascolto. Epochè, intenzionalità e costituzione del sonoro.Elia Gonnella - 2020 - Dialegesthai. Rivista Telematica di Filosofia 21.
    L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L' analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità (...)
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  10. Hearing Waves: A Philosophy of Sound and Auditory Perception.Calvin K. W. Kwok - 2020 - Dissertation, The University of Hong Kong
    This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible form. (...)
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  11. Sound Ontology and the Brentano-Husserl Analysis of the Consciousness of Time.Jorge Luis Méndez-martínez - 2020 - HORIZON. Studies in Phenomenology 9 (1):184-215.
    Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the audible (...)
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  12. If Sounds Were Dispositions, a Framework Proposal for an Undeveloped Theory.Jorge Luis Mendez-Martinez - 2020 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 27 (4):446-479.
    In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That portrayal, however, (...)
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  13. What Counts as "a" Sound and How "to Count" a Sound, the Problems of Individuating and Identifying Sounds.Jorge Luis Méndez-Martínez - 2019 - Synthesis Philosophica 1 (67):173-190.
    This paper addresses the problem of sound individuation (SI) and its connection to sound ontology (SO). It is argued that the problems of SI, such as aspatiality, extreme individuation, indexical perplexity and duration puzzles are due to SO’s uncertainties. Besides, I describe the views in SO, including the wave view (WV), the property view (PV), and the event view (EV), as Casey O’Callaghan defends it. According to O’Callaghan, EV offers clear standards to individuate sounds. However, this claim is countered by (...)
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  14. Resisting Hegemony Through Noise.Casey Robertson - 2019 - Assuming Gender 8 (7.1):50-73.
    This essay examines the cultural phenomena of noise in its perceived social constructions and demonstrates its emergence as a form of resistance against prevailing dominant hegemonic codes of culture. In particular, the paper explores the ability of noise to be enacted as a tool to escape the shackles of heteronormative constructions of sexuality and gender in the cultural landscape of the United States. Examined to support this argument are the contrasting works of two American artists: John Cage and Emilie Autumn. (...)
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  15. John Cage, Gilles Deleuze, and the Idea of Sound.Iain Campbell - 2017 - Parallax 23 (3):361-378.
    In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...)
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  16. Turning Up the Volume on the Property View of Sound.Pendaran Roberts - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (4):337-357.
    In the present article, I show that sounds are properties that are not physical in a narrow sense. First, I argue that sounds are properties using Moorean style arguments and defend this property view from various arguments against it that make use of salient disanalogies between sounds and colors. The first disanalogy is that we talk of objects making sounds but not of objects making colors. The second is that we count and quantify over sounds but not colors. The third (...)
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  17. Irreducible Listening: Sound Unseen and Unspoken (Review of Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane, and The Order of Sounds: A Sonorous Archipelago, by François J. Bonnet). [REVIEW]Iain Campbell - 2016 - Sound Studies 2 (2):194-198.
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  18. Effort and Displeasure in People Who Are Hard of Hearing.Mohan Matthen - 2016 - Ear and Hearing 37:28S-34S.
    Listening effort helps explain why people who are hard of hearing are prone to fatigue and social withdrawal. However, a one-factor model that cites only effort due to hardness of hearing is insufficient as there are many who lead happy lives despite their disability. This paper explores other contributory factors, in particular motivational arousal and pleasure. The theory of rational motivational arousal predicts that some people forego listening comprehension because they believe it to be impossible and hence worth no effort (...)
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  19. Sound Reasoning : Prospects and Challenges of Current Acoustic Logics.Marc Champagne - 2015 - Logica Universalis 9 (3):331-343.
    Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.
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  20. Auditory Neuroscience: Making Sense of Sound.Adam M. Croom - 2014 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 18:1-3.
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  21. What We Hear.Jason Leddington - 2014 - In Richard Brown (ed.), Consciousness Inside and Out: Phenomenology, Neuroscience, and the Nature of Experience. Springer Studies in Brain and Mind.
    A longstanding philosophical tradition holds that the primary objects of hearing are sounds rather than sound sources. In this case, we hear sound sources by—or in virtue of—hearing their sounds. This paper argues that, on the contrary, we have good reason to believe that the primary objects of hearing are sound sources, and that the relationship between a sound and its source is much like the relationship between a color and its bearer. Just as we see objects in seeing their (...)
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  22. Consciousness and Mental Qualities for Auditory Sensations.Adriana Renero - 2014 - Journal of Consciousness Studies 21 (9-10):179-204.
    The contribution of recent theories of sound and audition has been extremely significant for the development of a philosophy of auditory perception; however, none tackle the question of how our consciousness of auditory states arises. My goal is to show how consciousness about our auditory experience gets triggered. I examine a range of auditory mental phenomena to show how we are able to capture qualitative distinctions of auditory sensations. I argue that our consciousness of auditory states consists in having thoughts (...)
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  23. Popular Music Studies and the Problems of Sound, Society and Method.Eliot Bates - 2013 - [email protected] 3 (2):15-32.
    Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...)
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  24. Sonar Technology and Shifts in Environmental Ethics.Christine James - 2005 - Essays in Philosophy 6 (1):29-53.
    The history of sonar technology provides a fascinating case study for philosophers of science. During the first and second World Wars, sonar technology was primarily associated with activity on the part of the sonar technicians and researchers. Usually this activity is concerned with creation of sound waves under water, as in the classic “ping and echo”. The last fifteen years have seen a shift toward passive, ambient noise “acoustic daylight imaging” sonar. Along with this shift a new relationship has begun (...)
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  25. Physics and the Phenomenal World.Jean Petitot & Barry Smith - 1996 - In Roberto Poli & Peter Simons (eds.), Formal Ontology. Dordrecht: Kluwer. pp. 233-254.
    The paper challenges the assumption, common amongst philosophers, that the reality described in the fundamental theories of microphysics is all the reality we have. It will be argued that this assumption is in fact incompatible with the nature of such theories. It will be shown further that the macro-world of three-dimensional bodies and of such qualitative structures as colour and sound can be treated scientifically on its own terms, which is to say not only from the perspective of psychology but (...)
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  26. Doing a Double Take: (Further) Against the Primary Sound Account of Echoes.Jeff Hawley - unknown
    Presented at Philosophy Across Disciplines Conference 2021, Newcastle University. -/- As noted by philosopher Robert Pasnau, “our standard view of sound is incoherent” at best. A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights a number of inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and (...)
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