The emerging school of thought called “postphenomenology” offers a distinct understanding of the ways that people experience technology usage. This perspective combines insights from the philosophical tradition of phenomenology with commitments to the anti-essentialism and nonfoundationalism of American pragmatism. One of postphenomenology’s central positions is that technologies always remain “multistable,” i.e., subject to different uses and meanings. But I suggest that as this perspective matures, philosophical problems are emerging around the notion of multistability, what I call “the problem of invariance” (...) and “the problem of grounding.” These problems point out things that remain unclear within the postphenomenological framework, such as how it handles structural claims regarding a technology’s various stabilities, and how it grounds its claims. How can postphenomenology make structural claims about technology and yet remain anti-essentializing? And on what epistemological basis does it ground its claims about human-technology relations? The paper concludes with a series of prescriptions that, if followed, enable postphenomenology to make edifying claims about technology, all while avoiding the problems of invariance and grounding, and maintaining its commitments to anti-essentialism and nonfoundationalism. (shrink)

Contemporary scientific research and public policy are not in agreement over what should be done to address the dangers that result from the drop in driving performance that occurs as a driver talks on a cellular phone. One response to this threat to traffic safety has been the banning in a number of countries and some states in the USA of handheld cell phone use while driving. However, research shows that the use of hands-free phones (such as headsets and dashboard-mounted (...) speakers) also accompanies a drop, leading some to recommend regulation of both kinds of mobile phones. In what follows, I draw out the accounts of the driving impairment associated with phone use implicit in research and policy and develop an alternative account grounded in philosophical considerations. Building on work in a school of thought called postphenomenology, I review and expand concepts useful for articulating human bodily and perceptual relations to technology. By applying these ideas to the case of driving while talking on the phone, I offer an account of the drop in driving performance which focuses on the embodied relationships users develop with the car and the phone, and I consider implications for research and policy. (shrink)

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...) intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

Richard Thaler and Cass Sunstein’s Nudge advances a theory of how designers can improve decision-making in various situations where people have to make choices. We claim that the moral acceptability of nudges hinges in part on whether they can provide an account of the competence required to offer nudges, an account that would serve to warrant our general trust in choice architects. What needs to be considered, on a methodological level, is whether they have clarified the competence required for choice (...) architects to prompt subtly our behaviour toward making choices that are in our best interest from our own perspectives. We argue that, among other features, an account of the competence required to offer nudges would have to clarify why it is reasonable to expect that choice architects can understand the constraints imposed by semantic variance. Semantic variance refers to the diverse perceptions of meaning, tied to differences in identity and context, that influence how users interpret nudges. We conclude by suggesting that choice architects can grasp semantic variance if Thaler and Sunstein’s approach to design is compatible with insights about meaning expressed in science and technology studies and the philosophy of technology. (shrink)

What is the relation between material hermeneutics, bodies, perception and materials? In this article, I shall argue cultural learning processes tie them together. Three aspects of learning can be identified in cultural learning processes. First, all learning is tied to cultural practices. Second, all learning in cultural practice entangle humans’ ability to recognize a material world conceptually, and finally the boundaries of objects, the object we perceive, are set by shifting material-conceptual entanglements. All these aspects are important for material hermeneutics (...) in a technoculture. Postphenomenology has expanded the connection between hermeneutics and phenomenology by focusing on studies of how perception, bodies, materials, the sensual realm and hermeneutics are entwined when we perceive the world through technologies. Following Don Ihde, hermeneutics expands beyond interpretation of texts in the humanities. We can interpret materials as for instance animal bones to make new sense of the Bible. New technologies have expanded material hermeneutics, when we can ‘look’ into bodies and ‘perceive’ below surfaces. Interpretation via such tools in a technoculture, both limit and extend our hermeneutic horizons in the humanities as well as in the natural sciences. Furthermore, from the perspective of cultural learning processes, material hermeneutics in the human and natural sciences depend on more than mediating instruments. Material hermeneutics also involve the material cultural environments of scientific apparatuses and the scientists’ processes of learning in cultural practice. This changes the focus from relations in postphenomenology to processes of relations. (shrink)

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 (...) qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

This work focuses on augmented reality glasses and its aim is to analyse the knock-on effects on our everyday world and ourselves yielded by this kind of technology. Augmented reality is going to be the most diffused technology in our everyday life in the near future, especially augmented reality mounted on glasses. This near future is not only possible, but it seems inevitable following the vertiginous development of AR. There are numerous kinds of different prototypes that are going to come (...) out next year. Therefore, a study on how these modifications yield knock-on effects on the constitution of the object and subject is mandatory. This work tackles the topic starting from a phenomenological and post-phenomenological point of view and it analyses the modification yielded by such technology from a perceptual point of view using the analysis of the horizons of the object made by Husserl. We need this analysis because it is not only the hypothetical future that may never come, but it is the likely future very close to us that is putting pressure on us. (shrink)

The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of (...) the musical aspects of existence as they appear in various philosophical works bringing together different accounts of music and aesthetics and pointing towards phenomenological study as a methodology for everyday aesthetics. While there are many different areas of music phenomenology such as studies of sound and listening, studies in perception of musical works, in experience of artistic creation, in singing and playing musical instruments, and phenomenology of transcendent or religious horizons of the experience of music, it is most promising—I suggest—to look at phenomenological studies of music from the perspective of everyday happenings and discoveries of musical aspects of life. Thus, I attempt to display the uses of phenomenology in finding musical aspects of everyday existence as well as in describing and illuminating the art of music. A look at Roman Ingarden’s and Mikel Dufrenne’s most intuitive and promising ideas will be broadened with a perspective from Don Ihde and Arnold Berleant. (shrink)

This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I (...) and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. (shrink)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we hear (...) sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

The notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. In this way, (...) the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound. (shrink)

Podcasts have been described as “a cinema for the ears” and this application of a visual rhetoric to describe an audio-only experience results in an attempt to define what is still a relatively new medium. I argue that it is possible to consider something cinematic without the presence of moving images. Assertions in favour of the cinematic nature of podcasts often employ the visual imagination of listeners evoked by heightened audio characteristics that a particular podcast may possess. By focusing on (...) film-centred podcasts specifically, which, in terms of content and form, are implicitly and often explicitly concerned with properties of the cinematic, I argue for a more conceptual analysis of the idea of a visual form of audio. While many film-oriented podcasts provide a supplementary celebration of cinema culture rather than manifesting a unique cinematic experience of their own, there are examples of film-centred podcasts that attempt to actualise what I will call an “audio-cinematic” experience, deploying the creative potential of the podcast to manifest an experiential aura that evokes a cinematic imagination. I analyse the sonic dimensions of audio-cinematic podcasts including my work with Neil Fox on The Cinematologists Podcast. (shrink)

This paper challenges that Ihde’s and Stiegler’s approaches stand in radical opposition. It argues that ethos is prior to law, exposes a Heideggerian rift between technoscience and technics, and rejects separation of theory from practice in favor of logics of poiêsis.

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

In this article, I develop and redirect Julian Henriques’s model of sonic dominance through examination of accounts of acoustic violence and torture involving headphones. Specifically, I show how auditory experience has been weaponized as an intracorporeal phenomenon, with headphones effecting a sense of sounds invading the interior phenomenological space of the head. By analysing reported cases of sonic violence and torture involving headphones through a composite theoretical lens drawn from the fields of music, sound and body studies, I argue that (...) in saturating the head’s perceived interior with sound, perpetrators of violence perform sonic dominance across two interrelated levels: the subjugation of interiorized auditory space via the notion of flooding, in which attention is directed towards the experience of the body as a vessel for sound; and the resulting manipulation of phenomenological head–mind linkages, with emphasis on the head as a ‘space’ for both sound and thought. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening (...) by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)

Increasingly privatized auditory spaces resulting from the mutual engendering of auditory cultural practices and sound technologies that separated the sense of hearing and segmented acoustic spaces have had a muting effect on our experience of Others that has intensified since the advent of mobile listening devices. In Section 1 of the article, I outline features of the social realm of the nineteenth to twentieth centuries that made modern sound technologies possible and then features of the technological realm that have shaped (...) today’s social realm – all with an eye toward our experience of other people. Then, in Section 2, I reach for a few phenomenological tools from the work of Jean-Paul Sartre, Emmanuel Levinas, and Don Ihde to draw out the phenomenological vectors that have taken shape within the enmeshed sociotechnological context described in Section 1. Specifically, I show how technologically mediated auditory experience has been individualized and how the use of sound technologies on the go – whether wearing earphones or in a car – has had a muting effect on our experience of others. (shrink)

As a regular reader of Science, Scientific American, Nature and The Eonomist, I could not miss how so many articles in these science-technology journals refer to micro-processing, which today dominates so much science-praxis. I have become aware that how science happens, changes primarily with a wide context of instrument changes. That is what this paper is about. Heidegger’s technologies were largely Industrial-Big, Machinic, and Mechanical. Science, today often a leader, is now operating by using micro-nano processes and has often shifted (...) to biological and medical sciences, marking a change in how science operates. This has significant consequences for how we should think about the “transcendental” and the “empirical” in philosophy of technology. (shrink)

What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the environment and (...) gameplay situations in terms of the goal-oriented actions they afford. Nondiegetic music, not tied to any place in the digital game world, can play a unique role in the structuring of these affordances. Through a series of case studies, I will show that music creates and structures situations both in the game environment (such as the appearance of enemies in Unreal) and beyond the game environment (such as the death of an avatar and the restart of a level in Super Mario Bros.). (shrink)

Unentwegt werden neue technische Produkte gestaltet. Doch was macht die technische Gestaltung aus? Wie lässt sich ihr Gegenstand - (noch) nicht existierende Artefakte - adäquat auf den Begriff bringen? Michael Kuhn begreift technische Ideen vor ihrer Realisierung als Fiktionen. Er bietet eine fiktionstheoretische Rekonstruktion der Gestaltungstätigkeit und entwickelt hieraus eine Ethik der Gestaltung. Der stark interdisziplinäre Zugang zwischen Technikphilosophie und Ingenieurwissenschaften liefert neue Erkenntnisse für beide Fachrichtungen und stellt wertvolle Grundlagen bereit.

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on the originality (...) of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music. (shrink)

Don Ihde is one of the world's foremost thinkers on the place of technologies in our lives. Over the course of a long career, he has built a unique and useful perspective by expanding on phenomenological and American pragmatist philosophy and has developed wide-ranging insights and conceptual tools for describing the details of our experience across the various areas of human activity, including scientific practice, anthropological history, computer interface, design, art history, and the technologies of everyday life. The Critical Ihde (...) brings together many of Ihde's most influential writings, as well as a number of under-recognized gems. Across these works are examples of his influential contributions to the phenomenology of human auditory and visual experience, his foundational work on the phenomenology of technology, and his thoughts on the technologies of scientific practice, including laboratory and medical imaging. Further, these chapters reveal the development of "postphenomenology," Ihde's original philosophical perspective, one that continues to flourish today across the work of a growing interdisciplinary and international collective of scholars. (shrink)

Dieser Beitrag erkundet und beschreibt das anthropologische Konzept einer sensorisch und besonders klanglich bestimmten Persona. Hintergrund bilden hierbei die künstlerischwissenschaflichen Forschungsmethoden des Soundwalks nach Hildegard Westerkamp, des Sensobiographic Walking oder Sensory Memory Walks nach Helmi Järviluoma sowie Jean-Luc Nancys Körperbegriff und Mario Perniolas Entwurf einer sensorisch verankerten Ideologie unter dem Begriff der Sensologie. Am Ende des Beitrags steht der Vorschlag einer Anthropologie, die sich dezidiert anti-normalistisch und nicht-heteronormativ versteht: eine Anthropologie nicht des Posthumanen, das allzu oft reale Diversität, soziale und (...) materiale Differenzen sowie die Partikularitäten und Idiosynkrasien ignoriert und verdrängt; stattdessen argumentiert dieser Beitrag für eine Anthropologie des Inhumanen, der sogenannten „humanoid aliens“. Diese Anthropologie versteht sich dann als eine Xenologie, als eine Erforschung des Fremden. (shrink)

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of (...) passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall. (shrink)

In virtual learning environments students often find themselves in front of a computer, looking at a bright screen, interacting with classmates and teachers through a keyboard and a mouse, and, in most cases, listening and watching someone who is not physically present. Virtual components are not rare, and growing concern is currently surfacing about students’ potential feeling of isolation, which has been found to increase educational barriers such as lack of motivation or engagement, or poor academic achievement. We may therefore (...) begin to wonder whether VLE allows for the necessary interpersonal involvement required for learning. Using a qualitative phenomenological research methodology called phenomenology of practice, the aim of this study was to understand what it is like to experience a sense of closeness to others in a VLE. Data was gathered by means of in-depth phenomenological interviews with five adult university students recruited via snowball sampling who had previous experience in VLE settings. The findings revealed that students may experience closeness with their classmates and teachers when they suddenly look beyond the superficial technological hurdles and find the humanity in the virtual others, when they share a difficult group experience, or when they create a personal virtual space. This study showed that closeness is indeed essential in education, and that even online we repeatedly find ourselves in a continuum of closeness to others, moving from an experience of togetherness to an experience of loneliness, or vice versa. (shrink)

The aim of this article is to demonstrate the phenomenologically grounded dynamics of hearing and listening as a possible approach to our sonic experience. Its starting point is the studies of contemporary urban spaces devoted to their sonic experience. The results of these studies and their interpretation will serve as a starting point for the introduction of dynamics of hearing and listening. In the next part of this article, I will focus on the elaboration of this relationship with regard to (...) the critique of Husserl’s concept of activity and passivity in his late work Experience and Judgment and Merleau-Ponty’s concept of being-in-the-world. Based on this, in the end, certain common features will be shown, connecting the thematization of activity and passivity with the relationship of hearing and listening. (shrink)

Since John Locke, regnant conceptions of personhood in Western philosophy have focused on individual capabilities for complex forms of consciousness that involve cognition such as the capability to remember past events and one’s own past actions, to think about and identify oneself as oneself, and/or to reason. Conceptions of personhood such as Locke's qualify as cognition-oriented, and they often fail to acknowledge the role of embodiment for personhood. This article offers an alternative conception of personhood from within the tradition of (...) phenomenology of the body. The article presents a phenomenological analysis of joint musical activity in dementia care and outlines an intercorporeal conception of personhood based on this analysis. It also provides a philosophical basis for the idea that others can hold us in personhood, and it questions a strict one-body-one-person logic that has pertained in much personhood debate. (shrink)

This introduction to the special issue of Human Studies on postphenomenology outlines specific developments which have led to this style of phenomenology. Postphenomenology adapts aspects of pragmatism, including its anti-Cartesian program against early modern subject/object epistemology. Postphenomenology retains and emphasizes the use of phenomenological variations as an analytic tool, and in practice postphenomenology takes what is commonly now called “an empirical turn,” which deeply analyzes case studies or concrete issues under its purview.

The philosophical tradition of phenomenology, with its focus on human bodily perception, can be used to explore the ways scientific instrumentation shapes a user’s experience. Building on Don Ihde’s account of technological embodiment, I develop a framework of concepts for articulating the experience of image interpretation in science. These concepts can be of practical value to the analysis of scientific debates over image interpretation for the ways they draw out the relationships between the image-making processes and the rival scientific explanations (...) of image content. As a guiding example, I explore a contemporary debate over images of the surface of Mars which reveal a landmass that resembles river delta formations on Earth, and which thus has important implications for the history of Martian climate and water flow. The phenomenological framework I develop can be used to help evaluate the different interpretations on offer for these images, and to analyze the roles in this discussion played by spacecraft equipped with cameras and laser and thermal imaging devices. (shrink)

This chapter explores the tripartite relationship between transgender identities, political activism, and sonic practice. In particular, this chapter employs theorizations of noise to explore a rupture in the prevalent binarisms of sound and gender in the American punk scene and its aesthetics. Drawing upon theoretical frameworks such as Herbert Marcuse’s one-dimensional society and Jean-François Lyotard’s conception of a libidinal economy, the sonic practices of trans-feminist artists such as GLOSS (Girls Living Outside Society’s Shit) and the HIRS Collective are re-examined to (...) interrogate their capacities to initiate acts of intentional antagonism to construct new spaces for the invisible and/or overlooked. Through such a trajectory, the intended goal is to reveal not only such trans-feminist artists’ collective actions of political resistance towards the modern neoliberal state, but perhaps most importantly, the typically less examined yet far-reaching ramifications of their inherent situatedness outside of such socio-political structures and machinery. While such artistic practice pits itself against the increasingly one-dimensional state of commodification in the punk genre, it also probes deeper to illuminate the related homonormative currents which have exerted considerable effort to flatten notions of diversity and difference within contemporary LGBTQ2S communities. It is ultimately through this complex matrix of identity, affective flows, and a political (dis)engagement with the dynamics of the American punk genre that we can begin to bear witness upon a modern form of sonic anarchism; one which fragments itself off from previous constructions yet reveals a possibility for new formations to those previously rendered silenced, both figuratively and literally. (shrink)

A speech-generating device is not a thing that many people have experienced. For those with severe speech impairments, however, it may be a technology giving them voice and an integral part of their daily lives. What is it like to have an embodiment relation with SGD? This article draws upon Don Ihde’s insights regarding human-technology relations to explore how SGDs may act to mediate and condition the everyday lives of children and youth with speech impairments.

This paper is about dialogic listening as a precondition for meaningful engagement in Socratic dialogues and for music. In order to arrive at a better understanding of what constitutes dialogic listening in the context of educational philosophical dialogues, I first shed light on the practice of philosophy teaching based on Nelson & Heckmann’s neo-Socratic paradigm and link this practice to Plato’s dialogues. I then argue that the activity of listening to an interlocutor during Socratic dialogues on the one hand, and (...) listening to music on the other, may in both cases be understood as a precondition for the process of engagement and, consequently, the co-creation of meaning as a central objective to the philosophical practice. I show this by discussing both Buber and Gadamer, combining their insights into three interrelated features of dialogic listening: 1) openness, 2) reciprocity, and 3) awareness, which apply to both philosophical dialogues and music. Ultimately, I attempt to make a case for the complementary application of music in the philosophical educational practice. (shrink)

Examination is made of a range of cyborg solutions to bodily problems due to damage, but here with particular reference to aging. Both technological and animal implants, transplants and prosthetic devices are phenomenologically analyzed. The resultant trade-off phenomena are compared to popular culture technofantasies and desires and finally to human attitudes toward mortality and contingency. The parallelism of resistance to contingent existence and to becoming a cyborg is noted.

Unlike Heidegger who reflects on the relationship between being and time, we are interested in studying the relationship between doing and time. We begin by discovering that the basis of people's doing is the starting point for any reflection on society and culture, and therefore we believe that our conclusions can be important especially for sociologists, ethnologists, political scientists, economists and psychologists. A fundamental difference between "doing" and "acting" could be that only people, not things, "do". We say "Antonio made (...) his house out of bricks to prevent the wind from blowing it down". We never refer to the "action of the wind" as a "doing". Acting, especially in "action," is erroneously associated with causation; we think, "the action of the wind on the house, is the cause of the collapse of the house." But in reality, causation is only a variant of doing. For example, in "Susanna writes a letter to Paul", Susanna is the cause of the text of the letter, but not of the reading of the letter. This is a paradigmatic example, the one that gave rise to our study. We say that the text "attracts its reader", as the poles of a magnet attract each other. From which we concluded that it is impossible to keep secrets. The importance of the study of doing in general becomes very relevant when we understand that "producing" and "consuming" are variants of doing. In Marx's work, the doing that generates social value is productive doing. But our research shows that all variants of doing generate order and all "order" generates organizational value. Note that the order of an act can be measured in "bits", which frees us from subjective measurements of the value of what we do in "money". We anticipate here that, in the following pages, we arrive at the conclusion that doing can be divided into 6 types of acts and their subgroups: the vectorial independent and hodern acts and the pendular complementary, parallel, curative and causa-dor acts. In addition, we discovered the existence of inter-acts, i.e. the "organizational resonance of the poles of a pendular act" and which includes the self-referent, bipolar, tripolar and multipole variants. This book could not have been written, without the background of the works already published and elaborated jointly, with Professor Luis de Marcos Ortega between 2018 and 2021. We refer to The Informational Foundation of the Human Act and Whispers and Shouts. The Informational Measurement of the Human Act both published by the University of Alcalá (Madrid). The texts of this book were published in weekly installments between May 2020 and December 2021, in the GaZeta portal of Guatemala. We have respected the chronological order of publication, as well as the contents of the articles. (shrink)