It has been known for long time that the cosmic sound wave was there since the early epoch of the Universe. Signatures of its existence are abound. However, such an acoustic model of cosmology is rarely developed fully into a complete framework from the notion of space, cancer therapy up to the sky. This paper may be the first attempt towards such a complete description of the Universe based on classical wave equation of sound. It is argued that one can (...) arrive at a consistent description of space, elementary particles, Sachs-Wolfe acoustic theorem, up to a novel approach for cancer therapy, starting from this simple classical wave equation of sound. We also discuss a plausible extension of Acoustic Sachs-Wolfe theorem based on its analogue with Klein-Gordon equation to become Acoustic Sachs-Wolfe-Christianto-Smarandache-Umniyati (ASWoCSU) equation. It is our hope that the new proposed equation can be verified with observation data. But we admit that our model is still in its infancy, more researches are needed to fill all the missing details. (shrink)

Acoustic pollution is one of the main pollutants nowadays but it is not considered of great importance in the construction field, despite some studies showing that most of acoustic pollution is produced by buildings under construction and roads with high traffic. The aim of the paper is to compare the noise levels at different time of the day in two different buildings which have different characteristics and different construction materials. The goal is to understand how well sound isolated civil buildings (...) are and how engineers have calculated the noise levels based on the specific area. The buildings are located at “Zogu Zi”, Tirana, Albania. The case study area is an area that consistently harvests noise from heavy traffic. The impact of the noise and the sound insulation materials in the wellbeing of the inhabitance is going to be analyzed too. The aim of this paper is displaying a comparative study on the actual noise levels generated by this area. It indicates the acoustic properties of the current building materials followed by a more suitable soundproof insulation. (shrink)

This essay aims to inquiry into the main factors responsible for the growth of modern acoustics, which basically have to be traced back to the empirical turn occurred in science of music around 1600. Helmholtz’s theory of sound will be regarded as most scientifically significant archetype of modern acoustics. In Section 1 a general historical overview of the science of music will be given and its importance for the development of modern science and mathematics considered. In Section 2 (...) the internal historical roots of modern acoustics, thus of Helmholtz’s theory of sound will be analyzed. Finally, in Section 3 positive and negative elements of Helmholtz’s acoustic will be discussed and its external historical roots as well as its actual epistemological relevance examined. (shrink)

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.

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

This paper determines the acoustic properties of external wall building materials composition. Noise pollution is one of the main pollutants nowadays but it is not considered of great importance in the construction field, despite some studies showing that greater acoustic pollution is produced by buildings under construction. The study consists of analysing two different types of buildings equipped with a different type of external masonry composition in terms of building materials. The buildings are located at “21 Dhjetori” street, Tirana, Albania. (...) Furthermore, the case study area is treated as an area that consistently harvests noise. The impact of noise pollution on the existing building materials is going to be analyzed. Those milestones will provide information regarding the noise levels, a comparison of the actual level of noise production (outdoor and indoor areas), sound transmission, and sound diminution, as well as the implementation of acoustic materials in order to improve the quality of life of the inhabitants. The selected area has the highest norms of acoustic pollution in the city according to the studies implemented by Determination of acoustic properties of building materials is an important task gaining higher importance due to the demand for suitable construction materials, located in places with high levels of noise and places with heavy traffic, such as in urban areas. The aim of this paper is to display a comparative study of the actual noise levels generated by this area. It indicates the acoustic properties of the current building materials followed by a more suitable soundproof insulation. (shrink)

In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the (...) categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

This paper is an exploration of how we do things with music—that is, the way that we use music as an esthetic technology to enact micro-practices of emotion regulation, communicative expression, identity construction, and interpersonal coordination that drive core aspects of our emotional and social existence. The main thesis is: from birth, music is directly perceived as an affordance-laden structure. Music, I argue, affords a sonic world, an exploratory space or nested acoustic environment that further affords possibilities for, among other (...) things, (1) emotion regulation and (2) social coordination. When we do things with music, we are engaged in the work of creating and cultivating the self, as well as creating and cultivating a shared world that we inhabit with others. I develop this thesis by first introducing the notion of a musical affordance . Next, I look at how emotional affordances in music are exploited to construct and regulate emotions. I summon empirical research on neonate music therapy to argue that this is something we emerge from the womb knowing how to do. I then look at social affordances in music, arguing that joint attention to social affordances in music alters how music is both perceived and appropriated by joint attenders within social listening contexts. In support, I describe the experience of listening to and engaging with music in a live concert setting. Thinking of music as an affordance-laden structure thus reaffirms the crucial role that music plays in constructing and regulating emotional and social experiences in everyday life. (shrink)

This volume’s aim is to stimulate philosophical interest in the experience of noise. There are at least three important open questions about noise. First, how should the relationship between noise as a scientific phenomenon and as a type of experience be understood? Is the one to be understood in terms of the other, and what implications may be drawn from this? Second, are experiences of noise strictly limited to perceptual states or to one type of perceptual state – for instance, (...) to acoustic experiences? E.g. is there noise that is visual or tactile? Is there noise that is cognitive, affective, or evaluative? Third, how can philosophy make sense of noise in the first place? Should noise simply be relegated to the hither side of the explananda of philosophy, as the mere leftover of whatever philosophy sets out to account for; meaning, being, totality, etc.? Or may noise be understood as a positive phenomenon in its own right, which has its own distinctive features and content, difficult though they might be to pin down? This volume will contribute to the burgeoning philosophy of noise by highlighting how contemporary philosophical perspectives with a phenomenological or experiential bent – the latter under both broad and narrow construals – can make inroads to these questions about a fascinating yet little understood quarter of human experience. (shrink)

Basic Emotion theory has had a tremendous influence on the affective sciences, including music psychology, where most researchers have assumed that music expressivity is constrained to a limited set of basic emotions. Several scholars suggested that these constrains to musical expressivity are explained by the existence of a shared acoustic code to the expression of emotions in music and speech prosody. In this article we advocate for a shift from this focus on basic emotions to a constructionist account. This approach (...) proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener’s mind. We start by reviewing the problems with the concept of Basic Emotions, and the inconsistent evidence that supports it. We also demonstrate how decades of developmental and cross-cultural research on music and emotional speech have failed to produce convincing findings to conclude that music expressivity is built upon a set of biologically pre-determined basic emotions. We then examine the cue-emotion consistencies between music and speech, and show how they support a parsimonious explanation, where musical expressivity is grounded on two dimensions of core affect (arousal and valence). Next, we explain how the fact that listeners reliably identify basic emotions in music does not arise from the existence of categorical boundaries in the stimuli, but from processes that facilitate categorical perception, such as using stereotyped stimuli and close-ended response formats, psychological processes of construction of mental prototypes, and contextual information. Finally, we outline our proposal of a constructionist account of perception of emotions in music, and spell out the ways in which this approach is able to make solve past conflicting findings. We conclude by providing explicit pointers about the methodological choices that will be vital to move beyond the popular Basic Emotion paradigm and start untangling the emergence of emotional experiences with music in the actual contexts in which they occur. -/- . (shrink)

"Procedural Justice" offers a theory of procedural fairness for civil dispute resolution. The core idea behind the theory is the procedural legitimacy thesis: participation rights are essential for the legitimacy of adjudicatory procedures. The theory yields two principles of procedural justice: the accuracy principle and the participation principle. The two principles require a system of procedure to aim at accuracy and to afford reasonable rights of participation qualified by a practicability constraint. The Article begins in Part I, Introduction, with two (...) observations. First, the function of procedure is to particularize general substantive norms so that they can guide action. Second, the hard problem of procedural justice corresponds to the following question: How can we regard ourselves as obligated by legitimate authority to comply with a judgment that we believe (or even know) to be in error with respect to the substantive merits? The theory of procedural justice is developed in several stages, beginning with some preliminary questions and problems. The first question - what is procedure? - is the most difficult and requires an extensive answer: Part II, Substance and Procedure, defines the subject of the inquiry by offering a new theory of the distinction between substance and procedure that acknowledges the entanglement of the action-guiding roles of substantive and procedural rules while preserving the distinction between two ideal types of rules. The key to the development of this account of the nature of procedure is a thought experiment, in which we imagine a world with the maximum possible acoustic separation between substance and procedure. Part III, The Foundations of Procedural Justice, lays out the premises of general jurisprudence that ground the theory and answers a series of objections to the notion that the search for a theory of procedural justice is a worthwhile enterprise. Sections II and III set the stage for the more difficult work of constructing a theory of procedural legitimacy. Part IV, Views of Procedural Justice, investigates the theories of procedural fairness found explicitly or implicitly in case law and commentary. After a preliminary inquiry that distinguishes procedural justice from other forms of justice, Part IV focuses on three models or theories. The first, the accuracy model, assumes that the aim of civil dispute resolution is correct application of the law to the facts. The second, the balancing model, assumes that the aim of civil procedure is to strike a fair balance between the costs and benefits of adjudication. The third, the participation model, assumes that the very idea of a correct outcome must be understood as a function of process that guarantees fair and equal participation. Part IV demonstrates that none of these models provides the basis for a fully adequate theory of procedural justice. In Part V, The Value of Participation, the lessons learned from analysis and critique of the three models are then applied to the question whether a right of participation can be justified for reasons that are not reducible to either its effect on the accuracy or its effect on the cost of adjudication. The most important result of Part V is the Participatory Legitimacy Thesis: it is (usually) a condition for the fairness of a procedure that those who are to be finally bound shall have a reasonable opportunity to participate in the proceedings. The central normative thrust of Procedural Justice is developed in Part VI, Principles of Procedural Justice. The first principle, the Participation Principle, stipulates a minimum (and minimal) right of participation, in the form of notice and an opportunity to be heard, that must be satisfied (if feasible) in order for a procedure to be considered fair. The second principle, the Accuracy Principle, specifies the achievement of legally correct outcomes as the criterion for measuring procedural fairness, subject to four provisos, each of which sets out circumstances under which a departure from the goal of accuracy is justified by procedural fairness itself. In Part VII, The Problem of Aggregation, the Participation Principle and the Accuracy Principle are applied to the central problem of contemporary civil procedure - the aggregation of claims in mass litigation. Part VIII offers some concluding observations about the point and significance of Procedural Justice. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between the auditory (...) system and the musical invariants can be characterized as an extended computational cognitive system. In articulating this view, the work of J. J. Gibson (1966, 1986) and Robert Wilson (1994, 1995, 2004) is drawn on. The view is defended from several objections and its implications outlined. The paper concludes with a comparison to Krueger’s (2014) view of the “musically extended emotional mind”. (shrink)

Verbal irony constitutes a rough class of indirect intentional communication involving a complex interaction of language-specific and communication-general phenomena. Conversationalists use verbal irony in conjunction with paralinguistic signals such as speech prosody. Researchers examining acoustic features of speech communication usually focus on how prosodic information relates to the surface structure of utterances, and often ignore prosodic phenomena associated with implied meaning. In the case of verbal irony, there exists some debate concerning how these prosodic features manifest themselves in conversation. A (...) form-function approach can provide a valuable tool for understanding speakers' varied vocal strategies in this domain. Here I describe several ways conversationalists employ prosodic contrasts, laughter, and other speech characteristics in their attempts to communicate effectively and efficiently. The presented examples, culled from spontaneous conversation recordings, reveal just a small sample of the enormous variation in delivery styles speakers adopt when communicating with ironic language. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...) an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

The perceptual psychologist J. J. Gibson embraces a radically externalistic view of mind and action. We have, for Gibson, not a Cartesian mind or soul, with its interior theater of contents and the consequent problem of explaining how this mind or soul and its psychological environment can succeed in grasping physical objects external to itself. Rather, we have a perceiving, acting organism, whose perceptions and actions are always already tuned to the parts and moments, the things and surfaces, of its (...) external environment. We describe how on this basis Gibson sought to develop a realist science of environments which will be ‘consistent with physics, mechanics, optics, acoustics, and chemistry’. (shrink)

During much of the past century, it was widely believed that phonemes--the human speech sounds that constitute words--have no inherent semantic meaning, and that the relationship between a combination of phonemes (a word) and its referent is simply arbitrary. Although recent work has challenged this picture by revealing psychological associations between certain phonemes and particular semantic contents, the precise mechanisms underlying these associations have not been fully elucidated. Here we provide novel evidence that certain phonemes have an inherent, non-arbitrary emotional (...) quality. Moreover, we show that the perceived emotional valence of certain phoneme combinations depends on a specific acoustic feature--namely, the dynamic shift within the phonemes' first two frequency components. These data suggest a phoneme-relevant acoustic property influencing the communication of emotion in humans, and provide further evidence against previously held assumptions regarding the structure of human language. This finding has potential applications for a variety of social, educational, clinical, and marketing contexts. (shrink)

Extruded polystyrene (XPS) otherwise known as a thermoplastic polymer has a closed cell structure and is often stronger, with a higher mechanical performance. XPS is a pressed material and is sold in different thicknesses ranging from 2 cm to 10 cm, thus having a weight that varies from 28 to 45 kg/m3 due to the force and pressure exerted on it. In general, XPS material has very low thermal conductivity and is resistant to bending. This material obtains typical values of (...) thermal conductivity between 0.025 and 0.040 W/m∙K., which means that it is ideal for surfaces that have to withstand weight, continuous traffic, etc. It is also resistant to moisture absorption and has a homogeneous density. Other characteristics of the material are good acoustic properties, easy assembly, and high durability over time. It should always be kept in mind that the surface where the thermal insulation will be applied must be leveled, cleaned, and dried. Primer is applied, before placing the thermal insulation on the surface. Then, XPS boards are placed on the surface, adhering to the corresponding mortar. This paper will deal with different cases of application of XPS tiles in the city of Tirana. A closer look at the resistance of this material from the day of application until today will be analyzed. The results during the observations showed high thermal stability of the material and no mold surface. EPS Expanded Polystyrene, otherwise known by the Dow Chemical trademark name STYROFOAM, is a lightweight product made from expanded plastic beads. It was first discovered by Eduard Simon in 1839 in Germany. EPS in its composition has 95% air and only about 5% plastic. This material is used because of its excellent properties, including good thermal insulation, good protective properties, and extremely lightweight. EPS is inert in nature and therefore does not result in any chemical reaction. EPS is durable, strong, and lightweight and can be used as an insulated panel system for facades, walls, roofs, and floors, as floating material in marine construction, and as a lightweight filler in road and railway construction. Different examples from the city of Tirana, of buildings where XPS and EPS materials are applied, are going to be analyzed, drawing conclusions. (shrink)

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 (...) between sonar technicians and environmental ethics. I have found a significant shift in the values, and the environmental ethics, of the underwater community by looking closely at the term “noise” as it has been conceptualized and reconceptualized in the history of sonar technology. To illustrate my view, I will include three specific sets of information: 1) a discussion of the 2003 debate regarding underwater active low- frequency sonar and its impact on marine life; 2) a review of the history of sonar technology in diagrams, abstracts, and artifacts; 3) the latest news from February 2004 on how the military and the acoustic daylight imaging passive sonar community has responded to the current debates. (shrink)

It is well known that the unpredictable speech production brought on by stress from the task at hand has a significant negative impact on the performance of speech processing algorithms. Speech therapy benefits from being able to detect stress in speech. Speech processing performance suffers noticeably when perceptually produced stress causes variations in speech production. Using the acoustic speech signal to objectively characterize speaker stress is one method for assessing production variances brought on by stress. Real-world complexity and ambiguity make (...) it difficult for decision-makers to express their conclusions with clarity in their speech. In particular, the Neutrosophic speech algorithm is used to encode the language variables because they cannot be computed directly. Neutrosophic sets are used to manage indeterminacy in a practical situation. Existing algorithms are used except for stress on Neutrosophic speech recognition. The creation of algorithms that calculate, categorize, or differentiate between different stress circumstances. Understanding stress and developing strategies to combat its effects on speech recognition and human-computer interaction system are the goals of this recognition. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as richly spatial as (...) visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

Starting from Jaspers’ analysis of attitudes in Psychologie der Weltanschauungen and analyzing their causes, we find an essential description of the human being. The human condition of being in the world (Heidegger, Jaspers) can be troubled (Freud, Jung). However, this is characteristic for human life (Jaspers, Schellenbaum). Among all attitudes, the enthusiastic one is the more consistent with human being’s dynamic nature (Bergson, Jaspers, Schellenbaum). The human being feels himself deeply touched (Scheler, Jaspers) and becomes stunned. The aim of the (...) paper is to show that the enthusiastic view is well exposed by the act of singing. Traditionally analysed in connection with art (Cassirer, Solger, Wackenroder), the enthusiastic view gives us a “sound image” of the human being since his childhood (Gehlen, Leydi). In everyday life and by all its difficulties (Freud, Jung, Schellenbaum, Jaspers), the human being discloses his nature in acoustic manifestations (Keil, Kafka, Wackenroder) by expressing the enthusiastic mode. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two (...) levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects. (shrink)

The paper outlines a tentative genealogy of the Platonic metaphysics of sight by thematizing pre-Platonic thought, particularly Heraclitus and Parmenides. By “metaphysics of sight” it understands the features of Platonic-Aristotelian metaphysics expressed with the help of visual metaphors. It is argued that the Platonic metaphysics of sight can be regarded as the result of a synthesis of the Heraclitean and Parmenidean approaches. In pre-Platonic thought, the visual paradigm is still marginal. For Heraclitus, the basic structure of being is its discursive (...) articulation (logos) into conceptual pairs of binary opposites, an articulation that at the same time binds differences together into a tensional unity. The fundamental grasping of this ultimate unity-in-difference is conceived primarily through acoustic terms as a non-sensory “hearing.” For Parmenides, the ultimate unity of contraries is based on the capacity of thinking (noos) to intend anything as present; in fragment B 4, the exclusive relationship of thinking to intelligible presence is finally visualized in terms of a seeing or looking (leusso). (shrink)

Listening is not an incorporeal experience; we do not listen with our non-extended minds. We listen with all our body, and music can change completely our personal structure. It is through sound experience that we change and asset ourselves. Studies in the doctrine of affects often use sonorous metaphors and concepts such as Stimmung, resonance, consonance, that refer to sound experience. In this paper, I try first of all to show how listening is rooted in body experience. Then, I argue (...) for a new consideration of the notion of person that takes into account the fundamental sonorous basis – psycho-acoustic – of its constitution. Thanks to sounds we can reach a new conceptualization of emotional relations between persons which we attain through the person’s ordo amoris. Additionally, with the analysis of sounds we grasp some aspects of emotional experience related to the singular person (intra-personal). So, if sounds are profoundly related to corporeal experience, so strongly involving affects as to modify our personal structure and form a person’s constitution, and affects can really do that, their relationship need to be inquired where both sound experience and affection are rooted: corporeity. (shrink)

Descartes was born in La Haye (now Descartes) in Touraine and educated at the Jesuit college of La Fleche` in Anjou. Descartes’modern reputation as a rationalistic armchair philosopher, whose mind–body dualism is the source of damaging divisions between psychology and the life sciences, is almost entirely undeserved. Some 90% of his surviving correspondence is on mathematics and scientific matters, from acoustics and hydrostatics to chemistry and the practical problems of constructing scientific instruments. Descartes was just as interested in the (...) motions of matter as in the supernatural soul, and he advised against spending too much time on metaphysical inquiries which neglect imagination and the senses. After meeting the Dutch engineer Isaac Beeckman in 1618, Descartes became committed to a systematically ‘mechanical’account of nature. This involved explaining all natural processes in terms of interactions between microscopic material bodies in motion. Descartes modelled his physics and cosmology on the behaviour of fluids, which also have a distinctive and central role in his physiology: the key processes for natural philosophical investigation are the circulation and mutual displacement of constrained bodies, rather than the isolated collisions of atoms in a void. Descartes settled in Holland in 1628, and commenced an ambitious programme of physiological research. In 1630 he was ‘studying chemistry and anatomy simultaneously’, and in late 1632 he was ‘dissecting the heads of various animals’, in order to ‘explain what imagination, memory, etc. consist in’. By late 1633 Descartes had almost completed L’homme, the Treatise on Man; but he abandoned plans to publish it along with a work on matter theory and optics which relied on Copernican cosmology, after he heard of the condemnation of Galileo. L’homme was published posthumously in 1662 (Latin) and 1664 (French); not until 1972 was it fully translated into English. L’homme draws on many (mostly unnamed) Renaissance medical writers, and covers, firstly, a range of traditional physiological topics, such as digestion and respiration.. (shrink)

The Cell Ontology (CL) is designed to provide a standardized representation of cell types for data annotation. Currently, the CL employs multiple is_a relations, defining cell types in terms of histological, functional, and lineage properties, and the majority of definitions are written with sufficient generality to hold across multiple species. This approach limits the CL’s utility for cross-species data integration. To address this problem, we developed a method for the ontological representation of cells and applied this method to develop a (...) dendritic cell ontology (DC-CL). DC-CL subtypes are delineated on the basis of surface protein expression, systematically including both species-general and species-specific types and optimizing DC-CL for the analysis of flow cytometry data. This approach brings benefits in the form of increased accuracy, support for reasoning, and interoperability with other ontology resources. 104. Barry Smith, “Toward a Realistic Science of Environments”, Ecological Psychology, 2009, 21 (2), April-June, 121-130. Abstract: The perceptual psychologist J. J. Gibson embraces a radically externalistic view of mind and action. We have, for Gibson, not a Cartesian mind or soul, with its interior theater of contents and the consequent problem of explaining how this mind or soul and its psychological environment can succeed in grasping physical objects external to itself. Rather, we have a perceiving, acting organism, whose perceptions and actions are always already tuned to the parts and moments, the things and surfaces, of its external environment. We describe how on this basis Gibson sought to develop a realist science of environments which will be ‘consistent with physics, mechanics, optics, acoustics, and chemistry’. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

In his treatise "Elementa harmonica," Aristoxenus of Tarentum formulated a distinctive philosophical framework within the realm of sound exploration, deviating from the harmonics theory advanced by the Pythagoreans. A pivotal disparity lies in the methodological approach to research. Aristoxenus posited meticulous observation of acoustic phenomena as the foundational step in all inquiries, constituting a fundamental criterion for truth. He asserted that perception alone could authenticate the fidelity of the observed state of affairs. Aristoxenus vehemently opposed the Pythagorean disregard for auditory (...) testimony, deeming it a notable methodological lapse. According to him, the harmonikos must serve as a vigilant observer of acoustic phenomena, equipped with a discerning and cultivated musical ear. (shrink)

Regular physics is unsatisfactory in that it fails to take into consideration phenomena relating to mind and meaning, whereas on the other side of the cultural divide such constructs have been studied in detail. This paper discusses a possible synthesis of the two perspectives. Crucial is the way systems realising mental function can develop step by step on the basis of the scaffolding mechanisms of Hoffmeyer, in a way that can be clarified by consideration of the phenomenon of language. Taking (...) into account such constructs, aspects of which are apparent even with simple systems such as acoustically excited water (as with cymatics), potentially opens up a window into a world of mentality excluded from conventional physics as a result of the primary focus of the latter on the matter-like aspect of reality. (shrink)

The soundwalk was invented as part of the initiatives undertaken by the World Soundscape Project group with an acoustic ecology profile, which emphasised the noise pollution that exists in people’s sonic environment and the need to reacquire our ‘lost skill’ of conscious listening. Initially, the practice of soundwalking was used as a method allowing us to ‘hone our hearing’ (to boost our sonological competence), to show the human condition with respect to modern reality. Soon, the soundwalk became an inspiration for (...) many artistic undertakings that made use of the sonic properties of the environment and employed various listening strategies. This article is designed to present the idea of soundwalking since its theory and practices began to form. By presenting selected works by Hildegard Westerkamp, I intend to show the motivations behind the practice of soundwalking, which encompass the complex issues of perceiving and assessing city sounds. I refer these to Tim Ingold’s proposition to understand sound as a medium of experience. Soundwalking, as a practice of conscious listening by focusing attention on aural sensations, paradoxically seems to reveal the multi‑sensory structure of our relationship with the world, and the mediatory function of sound in our experience of being‑in‑the‑world. (shrink)

Vocal fry is a phonation, or voicing, in which an individual drops their voice below its natural register and consequently emits a low, growly, creaky tone of voice. Media outlets have widely acknowledged it as a generational vocal style characteristic of millennial women. Critics of vocal fry often claim that it is an exclusively female vocal pattern, and some say that the voicing is so distracting that they cannot understand what is being said under the phonation. Claiming that a phonation (...) is so distracting as to prevent uptake of the semantic content of an utterance associated with it is an extreme reaction, especially when accompanied by demands for women to change their phonation. We argue that this reaction limits women's communicative autonomy. We analyze the extreme reaction to female vocal fry, which we characterize as a non-content-based response, from the perspectives of philosophy of language, feminist epistemology, and linguistics. We argue that when fry is heard as annoying and distracting, it is because the hearer interprets the speaker as echoing an utterance from a position of authority to which she is not entitled. We show that this reaction encodes conscious or unconscious sexist attitudes toward women's voices. (shrink)

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 (...) the consideration that any view could also defend the standards in SO, and thus, EV does not solve any of the problems mentioned above. As a way of showing the difficulties inherited by sound’s inner ontology, the problem of its linguistic representation is also addressed. The problem of SI can be developed within the frame of the philosophy of language and, specifically, regarding the discussion about mass vs count-­sortal terms. Is the term sound a mass or a count­-sortal? It is shown that, for reasons pertaining SO, the decision regarding the case of sound as a mass or count-­sortal term remains open. SI is, thus, covered from the SO to the philosophy of language. (shrink)

The main objective of this project is to provide acoustic assistance to the blind people and also deal with the problems faced by them to walk like the normal human beings. Thus the project aims to develop a device that would serve as a guiding assistance to them. The paper focuses on designing a device for visual impaired (or blind) people that would help them to travel independently and also with more ease. One of the biggest problem that the visual (...) impaired ones face is while travelling because when they walk in the indoors and outdoors they are not well aware of information about their location and orientation with respect to traffic and obstacles on their way unlike the normal beings. The technology proposed in the paper serves as a solution for visual impaired people. The project consists of smart shoe and smart cane (stick) that alerts visually impaired people over obstacles coming between their ways and could help them in walking with less collision. The main objective of this paper is to address a reliable encompassing of a call and a shoe that could communicate with the user through voice alert and pre-coded messages. (shrink)

EEG signals are records of nonlinear solitary waves in human brains. The waves have several types (e.g., α, β, γ, θ, δ) in response to different levels of consciousness. They are classified into two groups: Group-1 consists of complex storm-like waves (α, β, and γ); Group-2 is composed of simple quasilinear waves (θ and δ). In order to elucidate the mechanism of EEG wave formation and propagation, this paper extends the Vlasov-Maxwell equations of Plasma Brain Dynamics (PBD) to a set (...) of two-fluid, self-similar, nonlinear solitary wave equations. Numerical simulations are performed for different EEG signals. Main results include: (1) The excitation and propagation of the EEG wave packets are dependent of electric and magnetic fields, brain aqua-ions, electron and ion temperatures, masses, and their initial fluid speeds; (2) Group-1 complex waves contain three ingredients: the high-frequency ion-acoustic (IA) mode, the intermediate-frequency lower-hybrid (LH) mode, and, the low-frequency ion-cyclotron (IC) mode; (3) Group-2 simple waves fall within the IA band, featured by one or a combination of the three envelopes: sinusoidal, sawtooth, and spiky/bipolar. The study proposes an alternative model to Quantum Brain Dynamics (QBD) by suggesting that the formation and propagation of the nonlinear solitary EEG waves in the brain have the same mechanism as that of the waves in space plasmas. (shrink)