Critically discussing the causal social ontologies presented by Dave Elder-Vass and John Searle, the article argues that these views implausibly identify the causal ontological source of human sociality in collectively known, recognized and accepted statuses, criteria, norms and the like. This is implausible, for it ignores human sociality as occurring in temporally and spatially dispersed on-going processes of human interaction of differently placed, often unequal, and thus epistemically differently equipped actors in division of labour. Human scientific concepts are best seen (...) as picking out (aspects of) such complex and heterogeneous processes, not what the participating actors allegedly collectively know, accept or recognize about them. The article observes that similar appeals to collective recognition are also common in Wittgensteinian literature that, however, have claimed to reject the causal ontological view. It is argued that the ultimate value in rejecting the causal ontological view, and the accompanying idea of collective recognition, resides in that we thereby avoid epistemically homogenizing and over-intellectualizing the diverse mass of dispersed, often unequal, but interacting actors. (shrink)

This essay analyzes the historical development of otology in relation to music. It illustrates the integral role of music perception and appreciation in the study of hearing, where hearing operates not simply as a scientific phenomenon but signifies particular meaningful experiences in society. The four historical moments considered—Helmholtz’s piano-keyed cochlea, the ear phonautograph, the hearing aid, and the cochlear implant—show how the sounds, perceptions, and instruments of music have mediated and continue to mediate our relationships with hearing. To have an (...) ear, one does not just bear a physiological hearing mechanism; one experiences the aesthetics of musical sound. (shrink)