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)

The experiences described in the VIP transcripts are incredibly varied and yet frequently explicitly labelled by participants as "voices." How can we make sense of this? If we reflect carefully on uses of the word "voice", we see that it can express at least two entirely different concepts, which pick out categorically different phenomena. One concept picks out a speech sound (e.g. "This synthesizer has a "voice" setting"). Another concept picks out a specific agent (e.g. "I hear two voices: (...) one is a ten year-old boy…"). This chapter explores how these two concepts are related to one another in the context of voice-hearing. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of (...) this critique. While Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, (...) certain common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (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)

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the (...) structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for. (shrink)

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, (...) and Piana, which more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed. (shrink)

We take ourselves to have an inner life of thought, and we take ourselves to be capable of linguistically expressing our thoughts to others. But what is the nature of this “inner life” of thought? Is conscious thought necessarily carried out in language? This paper takes up these questions by examining Merleau-Ponty’s theory of expression. For Merleau-Ponty, language expresses thought. Thus it would seem that thought must be independent of, and in some sense prior to, the speech that expresses it. (...) He also claims, however, that thinking just is linguistic expression, and thus that language constitutes thought. The primary aim of this paper is to make sense of this constitutive claim while maintaining that, for Merleau-Ponty, there is an inner life of thought that exists independently of linguistic expression, and that this inner life rightly deserves the label “thought”. The upshot of this account is twofold. First, it explains why the mainstream view of Merleau-Ponty’s theory of expression seems plausible, but is ultimately inadequate. Second, it functions as a corrective to contemporary debates about the nature and scope of phenomenal consciousness and the sense in which conscious experience has content. (shrink)

This book studies the technognomies of memory in scripto as in texts, lists, dictionaries and databases and less the technognomies of memory in vivo (as in remembering). There are of course some relations between these two kinds of memories, being memory-in-scripto a development parallel to the development of written language. We notice that the historical presentation is built upon both forms of memory. We notice that the historical explanation is tied to the concrete experience of persons belonging to a culture. (...) In the history of memory then, it is necessary to distinguish two important aspects, the development of spoken memory and the development of written memory. The essential characteristic of written memory is its muteness. Muteness is also associated to spatiality and to stability. On the other hand, audial presentations are inseparable of the notions of movement and time passing. According to Don Ihde the spheres of the invisible and the silent, limit the spheres of the visual and the audial. These two spheres overlap partially in visual presentations that also are audial presentations; however, their natural being is to be independent from each other. [Ihde, Don. Listening and Voice. Phenomenologies of Sound; State University Press; 2007; p. 50-51.] In our time, which is also the time of the globalization and digitalization of culture, a new philosophical paradigm is going on characterized by the fragmentation of experience. This fragmentation does not allow an overview of the totality of a field of experience, which is only possible to reduce to singular analytical moments. The fragmentation of experience is the result of a new jump of the capability to concretion. Inside this new paradigm, the world becomes multistable. The multistability of the world creates a gap between intention and implementation that distinguishes the “full” history as Natural history from the “broken” history as Cultural history. (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 ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music (...) and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (shrink)

Historical and cultural approaches to climate generally consider climate to be a stabilising concept between weather and culture. Different historical and cultural concepts of climate signify different ways of learning to live with the weather. However, anthropogenic climate change evidences the limit of this approach: instead of stabilising, climates ephemeralise together with the ways we have come to adapt to them. Changing climates require a concept of climate that captures how climates are experienced both as stable and ephemeral. To create (...) such a concept, I engage in an exercise of counterfactual etymology, reconstructing the concept of climate that might have emerged from the Ancient Greek term hora as opposed to klima. Central to my re-creation of phenomenological climate are Plato's myths, through which I highlight the methodological kinship between myth and phenomenology. Drawing on a later dialogue, Philebus, I provide an ontological account of climates as both stable and ephemeral. I conclude by situating my approach to climate and its changes in recent work on the relationship between weather and climate, arguing for the necessity of phenomenological climate in order to make sense of what changes with climate change. My turn to Ancient Greek philosophy and its application to the phenomenology of climate and its changes sounds out a novel approach to research in historical geography. (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)

Over the past years McDowell’s conceptualist theory has received mixed phenomenological reviews. Some phenomenologists have claimed that conceptualism involves an over-intellectualization of human experience. Others have drawn on Husserl’s work, arguing that Husserl’s theory of fulfillment challenges conceptualism and that his notion of “real content” is non-conceptual. Still others, by contrast, hold that Husserl’s later phenomenology is in fundamental agreement with McDowell’s theory of conceptually informed experience. So who is right? This paper purports to show that phenomenology does (...) not have to choose between any of these positions. Central to the outline I offer is that there are multiple approaches to non-conceptual content in play today. By separating them we can begin to oversee the diversity of phenomenological contributions to the debate about non-conceptual content. I conclude that current literature presents us with at least three sound phenomenological accounts of non-conceptual content, but also that these are generally not incompatible with conceptualism. (shrink)

It is more than a platitude to admit that we are always dying. It is a recognition of the fundamental finitude that marks our existence as human persons. It says something essential about the human condition. We are all born. We all die. And the very living of life is, leaving aside for the moment religious considerations, oriented toward death. Phenomenologists make much of this observation, perhaps none more so than Martin Heidegger who argues that our being-toward-death permits the ontological (...) grasping of Da-sein as a whole. Indeed for him, the“existential and ontological concept of death” is “the own most nonrelational, certain, and, as such, indefinite and not to be bypassed possibility of Da-sein.” However, if one spends much time around those who are very close to death it can begin to sound disingenuous to talk about death as one’s own most possibility. It is easy to think these patients are dying—not me. Still, the phenomenologist might claim that, vis-à-vis our being-toward-death, the difference between me and the terminally ill patient is a matter of degree and not kind. But, is this so? One may be excused for thinking not. There appears to be an important difference in the kinds of possible experiences open to us. I may experience healing if I become ill; on the other hand, the very condition of the patient with a terminal illness is defined by the impossibility of her experiencing healing. The primary aim of this paper is to argue that the terminally ill patient can, in fact, experience healing at the end of her life and in the face of impending death. I will not argue that the possibility of experiencing healing at the end of life means leaving room for divine intervention, though neither do I intend to preclude such a possibility. Rather, I will argue that healing is something that we experience quite apart from what happens to our biological make-up. While healing is often correlated with a change in the state of our bodies, it need not be. (shrink)

Silence is a multifaceted concept which is not merely as an absence of sound but a presence with significant ontological, existential, and phenomenological implications. Through a thematic analysis, this paper deconstructs silence into various dimensions—its ontology, linguistic universality, and its function as cessation of speech, a form of listening, an act of kenosis, a form of ascesis, and a way of life. The study employs philosophical discourse and mathematical notation to delve into these aspects, demonstrating that while each perspective (...) sheds light on certain facets of silence, none can comprehensively encapsulate its essence. The research underscores the paradoxical nature of silence. It is both a universal phenomenon recognised across cultures and an intimate, personal experience that resists definitive categorisation. The paper concludes that the true nature of silence, particularly when considering the state of "being silent," remains indefinable and elusive, inviting deeper contemplation on its role in human experience. (shrink)

According to proponents of irreducible cognitive phenomenology some cognitive states put one in phenomenal states for which no wholly sensory states suffice. One of the main approaches to defending the view that there is irreducible cognitive phenomenology is to give a phenomenal contrast argument. In this paper I distinguish three kinds of phenomenal contrast argument: what I call pure—represented by Strawson's Jack/Jacques argument—hypothetical—represented by Kriegel's Zoe argument—and glossed—first developed here. I argue that pure and hypothetical phenomenal contrast arguments (...) face significant difficulties, but that there is a sound glossed phenomenal contrast argument for irreducible cognitive phenomenology. (shrink)

Philosophical orthodoxy holds that pains are mental states, taking this to reflect the ordinary conception of pain. Despite this, evidence is mounting that English speakers do not tend to conceptualize pains in this way; rather, they tend to treat pains as being bodily states. We hypothesize that this is driven by two primary factors—the phenomenology of feeling pains and the surface grammar of pain reports. There is reason to expect that neither of these factors is culturally specific, however, and (...) thus reason to expect that the empirical findings for English speakers will generalize to other cultures and other languages. In this article we begin to test this hypothesis, reporting the results of two cross-cultural studies comparing judgments about the location of referred pains between two groups—Americans and South Koreans—that we might otherwise expect to differ in how they understand pains. In line with our predictions, we find that both groups tend to conceive of pains as bodily states. (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)

Upon first hearing sinewaves, all that can be discerned are beeps and whistles. But after hearing the original speech, the beeps and whistles sound like speech. The difference between these two episodes undoubtedly involves an alteration in phenomenal character. O’Callaghan (2011) argues that this alteration is non-sensory, but he leaves open the possibility of attributing it to some other source, e.g. cognition. I discuss whether the alteration in phenomenal character involved in sinewave speech provides evidence for cognitive phenomenology. (...) I defend both the existence of cognitive phenomenology and the phenomenal contrast method, as each concerns the case presented here. (shrink)

The article focuses on the anti-naturalism of Menger and Mises. It presents a methodological approach formulated by both scholars as stemming from epistemological anti-naturalism and demonstrating similarities to social phenomenology. The article also discusses the development of the anti-naturalistic perspective on the basis of Hayek’s conception of sensory order. The latter allowed addressing the problem of validity of methodological dualism and established a sound foundation for the methodological approach of the Austrian School of Economics.

Some philosophers have argued that we do not hear sounds as located in the environment. Others have objected that this straightforwardly contradicts the phenomenology of auditory experience. And from this they draw metaphysical conclusions about the nature of sounds—that they are events or properties of vibrating surfaces rather than waves or sensations. I argue that there is a minimal, but recognizable, notion of audition to which this phenomenal objection does not apply. While this notion doesn’t correspond to our ordinary (...) notion of auditory experience, it does—in conjunction with our lack of an uncontroversial individuation of the senses and recent interest in distinctively multisensory features of perceptual experiences—raise the possibility of more expansive notions of audition, including some that do plausibly count as corresponding to our everyday notion of audition, that lack the spatial phenomenology cited in the objection. Until this possibility is ruled out, the phenomenal objection and metaphysical conclusions drawn from it remain inconclusive. (shrink)

This review provides an overview of Eva Schmidt's impressively thorough and detailed book on the Conceptualist/Nonconceptualist debate in the philosophy of perception, and briefly sketches two objections to Schmidt. First, I suggest that a certain dilemma for the Conceptualist Schmidt raises in the context of her discussion of the fineness of grain argument is surmountable. Second, I question whether Schmidt's response to the epistemological motivation for Conceptualism is sound.

To what extent do I have a sense of agency over my thoughts while I dream? The sense of agency in dreams can alter in a variety of interesting ways distinct from normal, waking experience. In fact, dreams show many similarities to the experiences of individuals with schizophrenia. In this paper I analyze these alterations with a focus on distinguishing between reduced sense of agency and other cognitive features such as metacognition, confabulation and attention. I argue that some dream reports (...) demonstrate two interesting commonalities with schizophrenia: thought insertion (TI) and auditory hallucination (AH). This line of research has the potential to further our understanding of TI and AH in schizophrenia through the analysis of similar experience in a different conscious state. Through the analysis of dream reports, I found that although TI and AH both occur in dreams, TI is very rare. This is an interesting result since TI is common in patients with schizophrenia. I propose two speculative lines of explanation for the rarity of TI in dreams: first, the cognitive differences between the symptoms of schizophrenia and dreams, and second, the problem of dream reporting conditions. Dream reporting conditions are particularly important, as without controls, reports can be vague. Analysis of dream reports reveals that it is often unclear whether 'hearing voices' indicates sound phenomenology or thought phenomenology. I propose that dream reports could be disambiguated given the right experimental conditions and I suggest how this could be achieved in future experimental research. (shrink)

Reading proficiency plays a vital role in keeping up-to-date with technological advancements and innovations in education. However, there are Grade 7 students who need help with the essential skill of reading. These students need support for them to cope with the classroom demands. This transcendental phenomenological qualitative research aims to determine the academic experiences of struggling readers inside the classroom. Five struggling readers were the participants of this study. These five participants were purposefully selected after being recommended by the school (...) reading coordinator. The interview guide questionnaire was the instrument of this study. The interview guide questionnaire contains open-ended questions that were validated by experts. One-on-one interviews were conducted for about 20 to 40 minutes each. Using an audio recorder, the interviews were recorded. After the interview, a verbatim transcription was made and thematic analysis was utilized to analyze the significant lines of the participants. The following themes were elicited from the participants' responses, namely: lack of computer skills, limited visual attention span, hesitation and anxiety to participate, difficulty in interaction, difficulty with the use of technology in education, confusion with letter-sound identification, less motivation to learn, problem understanding the lesson, and slow in taking down notes. The participants attributed their reading difficulties to themselves, their teachers, and their parents. In light of these findings, it is strongly recommended that a robust and comprehensive reading recovery program be implemented. This program should address struggling readers' multifaceted challenges and provide them with the necessary support to enhance their reading proficiency and overall academic performance. (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)

The article discusses the problem of musical time presented in Edmund Husserl’s 'The Phenomenology of Internal Time-Consciousness'. The author of this article aims to describe the basic properties of immanent time on the basis of an analysis of the musical, resp. sound examples given by Husserl. Husserl’s reflections on inner time-consciousness – preceding Roman Ingarden’s examination of musical time included in 'The Work of Music and the Problem of Its Identity' – constitute an important stage in the reflections (...) on immanent time in a musical work. The article, as a study belonging to the phenomenology of music, is a critical analysis of the basic terms of phenomenology of time, such as original impressions, retention, protention, consciousness, perception, and intentionality. (shrink)

Pregnancy has a profound impact on individuals’ lives, yet the subjective experience is often absent from the discourse on reproductive rights and ethics. Although pregnancy is an epistemically transformative experience, phenomenology can help us describe common structures in the many different subjective experiences of pregnancy. Doing so shows us that the effects of pregnancy go beyond the physical symptoms; they invade the experience of the self and the world and transform identity. If someone wants to formulate an argument against (...) abortion, they will have to include the existential impact of pregnancy. In this paper I will further explore the impact of pregnancy through a phenomenological analysis of birth and birthmothers and show that the existential impact of pregnancy does not cease to exist after birth. Giving birth fundamentally changes the world of the pregnant person and leads to irreversible changes in identity. Their world will never return to the way it was before pregnancy. Arguments against abortion would have to take these existential implications into account as well. Finally, I will argue that a similar argument will also become relevant in the discourse on ectogenesis. (shrink)

This paper proposes some guidelines for the undeveloped discussion of auditory epistemology. Auditory epistemology is an approach concerned with the perceptual basis for knowledge and belief, specifically around audition. The article pursues two goals. Firstly, it claims that addressing auditory perception from the viewpoint of epistemology is more fruitful than the discussion on phenomenology which has thus far dominated the debates in the literature on sound. Secondly, it elaborates a concrete proposal pertaining to the cooperation of sense-modalities. In (...) so doing, a model for “Perceptual Coherence” is suggested. The first section of the paper critically reviews the problem of perception as it is usually understood in traditional epistemology. An ensuing section outlines the model of perceptual coherence. (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)

This article presents Paul Ricœur’s hermeneutic of the productive imagination as a methodological tool for understanding the innovative social function of texts that in exceeding their semantic meaning, iconically augment reality. Through the reasoning of Rastafari elder Mortimo Planno’s unpublished text, Rastafarian: The Earth’s Most Strangest Man, and the religious and biblical signification from the music of his most famous postulate, Bob Marley, this article applies Paul Ricœur’s schema of the religious productive imagination to conceptualize the metaphoric transfer from text (...) to life of verbal and iconic images of Rastafari’s hermeneutic of word, sound and power. This transformation is accomplished through what Ricœur terms the phenomenology of the iconic augmentation of reality. Understanding this semantic innovation is critical to understanding the capacity of the religious imagination to transform reality as a proclamation of hope in the midst of despair. (shrink)

Preface/Introduction: The question under discussion is metaphysical and truly elemental. It emerges in two aspects — how did we come to be conscious of our own existence, and, as a deeper corollary, do existence and awareness necessitate each other? I am bold enough to explore these questions and I invite you to come along; I make no claim to have discovered absolute answers. However, I do believe I have created here a compelling interpretation. You’ll have to judge for yourself. -/- (...) What follows is the presentation of three essays I have worked on over the past several years seeing publication for the first time. “Hollows of Experience” was written first as an invited chapter for a collection on the ontology of consciousness. However, when cuts became necessary, my chapter got the knife. Its length has prohibited it from publication in any print journal. “Myth and Mind” was written next as a journal article, but as my involvement with it grew so did its length, so it has also idled on my websty awaiting its call. “From Panexperientialism to Conscious Experience” was written most recently, but it is the only one to have been available to the public elsewhere than my own website. Under the name, “The Continuum of Experience”, it was Target Article #95 on the recently closed Karl Jaspers Forum (for discussion purposes only). -/- I have put them in a different sequence here, for reasons of logical sense. Up first, “Panexperientialism” deals with an idea difficult for many to accept, namely that conscious experience is a particular mode of symbolically reflected experience that is largely unique to our species. However, I aver that experienced sensation in itself (as found, for example, in autonomic sensory response systems) goes “all the way down” into nature, and thus the title, panexperientialism. -/- Understanding this idea is helpful to dealing with the focus on language in Part I of “Hollows”, next, since here speech and general symbolic interaction in general are found to be the catalysts for the creation of our consciously experienced world (our “lived reality”). In Part II, however, I explore how experienced sensations must be coeval with existence, and, with even greater temerity, how all this sensational existence might have arisen within some literally inconceivable background of awareness-in-itself that yet has a dynamism that occasionally breaks into existence as experiential events and entities. (The latter may sound wacky, but physicists and cosmologists are themselves attempting to come to terms with that which seethes with vast potential energy in what they refer to as the quantum vacuum.) -/- “Myth and Mind” was put third since it deals with a major lacuna in “Hollows” — that presumed prehistoric period when members of our species made the painful crossing of the symbolic threshold into the beginnings of cultural consciousness. Speech plays a central role here, too, but I look more at narrative structures from the dawn of self-awareness when ritual and myth became vital to human survival. Why would fantastic stories and bizarre rituals be necessary? I speculate that growing foresight led to the unavoidable realization of certain mortality, from which, in turn, emerged the secondary realization that we were now alive. In contrast to our yet-to-come death, we have life here and now, and by ritually identifying with a symbolically expanded mythic, i.e., sacred, reality, we may continue to live on after bodily death, just as our ancestors and loved ones must also do. Language and mythmaking are necessary to avoid mortal despair and they remain at the core of human consciousness. -/- As Ernst Cassirer (1944) has noted, language and myth are “twin creatures”, both metaphoric webs over a reality we can never wholly comprehend. We live in the symbolic and construct our works of imagination and wars of conquest to make life meaningful, to feel immortal, and to sense that we ourselves participate in a reality greater than ourselves. No doubt we do, but this does not mean our culturally constructed self-identities survive the death of our bodies, and it does not imply that our symbolic concepts can ever indicate the ultimate truth. We simply must symbolize an extended reality that was sacred to our ancestors: “Is it not our way, as illusory as it may be, to force continuance on our world and our life in the face of their inevitable ending? Are we not compelled to extend those imaginary horizons as far as we can despite the terror and the sometime joy their extension incites? Is their closure not a form of death?” (Crapanzano, p. 210) -/- Of course, this leaves me in the uncomfortable position of being forced to admit that this venture of mine must inevitably be another attempt at meaningful mythmaking. But what else could it be? This is certainly not a scientific proof though it is indeed an academically rigorous exploration. (Just try to count the citations!) I hope the reader will judge my thesis on the basis of its coherence, the sense of meaning it evokes, my intellectual responsibility, and, finally, the engagement it inspires. If you have read my expositions and found yourself immersed in the timeless questions I here call forth, I would call these writings successful (even if you violently disagree with my answers). -/- I am very grateful to Huping Hu for granting me this special issue of JCER in which to present my ideas in some detail. He has patiently dealt with my exuberant approach and allowed the many changes I kept coming up with right until the final publication date. I also wish to thank the many potential commentators who politely replied to my invitation, and, even more, I thank those who made time to write actual commentaries. -/- References -/- Cassirer, E. (1944). An Essay on Man: An Introduction to a Philosophy of Human Culture. New Haven/London: Yale UP. -/- Crapanzano, V. (2004). Imaginative Horizons: An Essay in Literary-Philosophical Anthropology. Chicago: U of Chicago Press. -/- Gregory M. Nixon University of Northern British Columbia Prince George, British Columbia, Canada Email: [email protected] Websty: http://members.shaw.ca/doknyx. (shrink)

Panmicropsychism is the view that the fundamental physical ingredients of our universe are also its fundamental phenomenal ingredients. Since there is only a limited number of fundamental physical ingredients, panmicropsychism seems to imply that there exists only a small set (palette) of basic phenomenal qualities. How does this limited palette of basic phenomenal qualities give rise to our rich set of experiences? This is known as ‘the palette problem’. One class of solutions to this problem, large-palette solutions, simply denies that (...) the palette is limited. These solutions assume that all types of phenomenal qualities (color, sound, odor, taste, etc., and presumably also types not experienced by humans) were created fully formed at the birth of our universe. On this view, brains evoke conscious experiences by sampling primordial, preexisting phenomenal spaces. My main claim in this paper is that, by analogy with the mathematical description of the fundamental physical ingredients of our universe, which exhibits simplicity, symmetry, and beauty, panmicropsychists should expect the mathematical description of the fundamental phenomenal ingredients of our universe to exhibit similar features. The goal of this paper is to exemplify this claim using what is arguably the simplest of all types of phenomenal qualities—color. Specifically, I utilize phenomenological data on color to construct the maximally symmetric mathematical description of phenomenal color space. I then show that this mathematical description is isomorphic to the mathematical description of two-state quantum systems in a mixed state. Based on this isomorphism, I suggest that color may be the phenomenal dual aspect of two-state quantum systems. (shrink)

Given the hard problem of consciousness, there are no brain electrophysiological correlates of the subjective experience (the felt quality of redness or the redness of red, the experience of dark and light, the quality of depth in a visual field, the sound of a clarinet, the smell of mothball, bodily sensations from pains to orgasms, mental images that are conjured up internally, the felt quality of emotion, the experience of a stream of conscious thought, or the phenomenology of (...) thought). However, there are occipital and left temporal brain electrophysiological correlates of the subjective experience. Notwithstanding, as an evoked signal, the change in event-related brain potential phase (frequency is the change in phase over time) is instantaneous, that is, the frequency will transiently be infinite: a transient peak in frequency (positive or negative), if any, is instantaneous in electroencephalogram averaging or filtering that the event-related brain potentials required and the underlying structure of the event-related brain potentials in the frequency domain cannot be accounted for, for example, by the Wavelet Transform or the Fast Fourier Transform analysis, because they require that frequency be derived by convolution rather than by differentiation. However, as I show, one suitable method for analysing the instantaneous change in event-related brain potential phase and accounting for a transient peak in frequency (positive or negative), if any, in the underlying structure of the event-related brain potentials is the Empirical Mode Decomposition with post-processing Ensemble Empirical Mode Decomposition. (shrink)

If a Zen Master kills a kitten, and does not hear its scream, does it make a sound? In this essay, I use the Zen story of Master Nansen's killing of a kitten as an entree into a reflection on the Zen experience of enlightenment. I argue that the story of Nansen and the cat, as presented in the Zen tradition, raises many questions and problems that must be resolved if we are to envision the enlightenment experience in a (...) clear way. (shrink)

The phenomenology of agency has, until recently, been rather neglected, overlooked by both philosophers of action and philosophers of consciousness alike. Thankfully, all that has changed, and of late there has been an explosion of interest in what it is like to be an agent. 1 This burgeoning field crosses the traditional boundaries between disciplines: philosophers of psychopathology are speculating about the role that unusual experiences of agency might play in accounting for disorders of thought and action; cognitive scientists (...) are developing models of how the phenomenology of agency is generated; and philosophers of mind are drawing connections between the phenomenology of agency and the nature of introspection, phenomenal character, and agency itself. My aim in this paper is not to provide an exhaustive survey of this recent literature, but to provide a.. (shrink)

This paper marks a juncture between the author’s studies in phenomenology and the transition he made to a study of what he has called a “metalogic of reference.” Published in 1974 in Polish translation, followed by its publication in English in 1975, “Phenomenology of the Implicit” describes the author’s “translation schema” that permits certain of the central goals of Husserlian transcendental philosophy to be transposed to a framework that studies the preconditions of valid reference. The result of this (...) translation was the development of the author’s “de-projective” approach to phenomenology, which he later dissociated from phenomenology in the form of a pure metalogic of reference. -/- The paper examines the phenomenological understanding of pre‐reflective awareness, of reflection, and of their interrelation. To this end, attention is paid to preconditions of reference that are entailed by the phenomenological distinction between implicit experience and explicit reflection. (shrink)

The concept of the thing in itself in Kant's philosophy is the element which deprives us of knowing the thing as it is in itself. Hegel, who believed that knowledge is limited by nothing but itself, had to eliminate the thing in itself in his Absolute Idealism and in this way make his concept of Knowledge absolute. Many scholars believe that he did so in the first part of his Phenomenology of Spirit, titled 'Consciousness'. In this paper, in contrast (...) to other studies which are concerned with Hegel's external critique of this concept and what he has said about it here or there in his System of philosophy, we'll examine his internal encounter with the Thing in Itself as it is occurred in the first chapter of the Phenomenology of Spirit. In doing so, we will try to show why he believed that, if we pursue the process of sublating the shapes of consciousness into one another, there won't be anything like the Thing in Itself. Then We will attempt to explain why his efforts are futile and why, even in the Phenomenology of Spirit, the thing in itself exists exactly in the sense that Kant meant by the term. (shrink)

What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology (...) of improvisation, Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions. (shrink)

The textbook presents the problematic aspect of historical and modern representations of the phenomenology of religion in academic discourse. The most important topics of the course are presented in a form that is easy to understand, questions for self-assessment and problems for analysis are formulated, and recommendations for organizing independent work of students are given. The textbook's material is systematized according to the principle of a problem to a specific example of its installation in religion, culture, science, and philosophy. (...) The textbook explores the interdisciplinary connections between philosophy, the philosophy of religion, and religious studies. The publication is addressed to students studying in the field of training "Religious Studies", and recommended to students studying philosophy, as well as to anyone interested in issues of understanding religion taking into account the achievements of the phenomenology of religion. (shrink)

In his Phenomenology of the Spirit, Hegel tries to explicate his claim that what he calls the System of Science should be organized merely through the "Life of Concept". In this paper, first, we will try to survey the role(s) Hegel assigns to the Concept in Phenomenology of Spirit. Then, we will examine his use of this term in Phenomenology of the Spirit and we will discuss the meanings of this term in that book. Thereafter We will (...) discuss whether in Phenomenology of the Spirit, Concept is finite (as we have seen in Kant's philosophy) and whether it is limited to an external limit or not, and eventually we will try to show that in Phenomenology of Spirit, the absolute knowledge should be understood not as attaining a pure and simple static truth, but it must be understood as infinite unity of Concept and in fact as infinite movement of it. In fact, drawing on the interpretations of Pippin, Houlgate, and Stern, we argue that in contrast to the prevailing interpretations in contemporary Hegel studies, at the end of the Phenomenology of Spirit, it is the concept that becomes absolute, not consciousness. (shrink)

One innovation in this paper is its identification, analysis, and description of a troubling ambiguity in the word ‘argument’. In one sense ‘argument’ denotes a premise-conclusion argument: a two-part system composed of a set of sentences—the premises—and a single sentence—the conclusion. In another sense it denotes a premise-conclusion-mediation argument—later called an argumentation: a three-part system composed of a set of sentences—the premises—a single sentence—the conclusion—and complex of sentences—the mediation. The latter is often intended to show that the conclusion follows from (...) the premises. The complementarity and interrelation of premise-conclusion arguments and premise-conclusion-mediation arguments resonate throughout the rest of the paper which articulates the conceptual structure found in logic from Aristotle to Tarski. This 1972 paper can be seen as anticipating Corcoran’s signature work: the more widely read 1989 paper, Argumentations and Logic, Argumentation 3, 17–43. MR91b:03006. The 1972 paper was translated into Portuguese. The 1989 paper was translated into Spanish, Portuguese, and Persian. (shrink)

The present article aims to make good on Roland Barthe’s unfulfilled promise to provide an eidetic phenomenology for the photograph. Though the matter deserves consideration simply because no relevant account has yet been provided, the consequences of adumbrating eight eidetic features, we hope to show, bear directly on the phenomenology of time, the possibility of technological events, and the status of truth as what Heidegger called alētheia . Finally, and most importantly for the enterprise of phenomenological reflection, if (...) we are successful in this endeavor, we shall have established a new way to use eidetic phenomenologies: not for Husserl’s original aim of executing a rigorous science, but in a more Derridian spirit as a way to destabilize consensus. (shrink)

Lavinia Marin draws from phenomenology to lay bare another aspect of the ubiquitous presence of social media. By taking the phenomenology of attention as a starting-point, she show that attention is – rather than only a scare resource as analysts departing from the perspective of the attention economy would have it – foundational for our moral relations to other beings. She argues that there is a distinctive form of other-oriented attention that enables us to perceive other beings as (...) living beings that are worthy of care. This mode of attention presupposes a form of affectivity and involves the recognition of the other as a moral being capable of forming judgments, as well as someone having certain vulnerabilities. Her analysis shows that by prioritizing homogenous interactions and standardization, social media platforms hinder us from engaging in this mode of attention, thereby undermining our capacity of recognizing to others as surprising, changing, and fallible beings. (shrink)

The orthodox view of social cognition maintains that mentalizing is an important and pervasive element of our ordinary social interactions. The orthodoxy has come under scrutiny from various sources recently. Critics from the phenomenological tradition argue that phenomenological reflection on our social interactions tells against the orthodox view. Proponents of pluralistic folk psychology argue that our ordinary social interactions extend far beyond mentalizing. Both sorts of critics argue that emphasis in social cognition research ought to be on other elements of (...) our social practices. In this paper, I consider social explanations specifically and argue that social explanations are implicated in many of the social practices highlighted by critics of the orthodox view. (shrink)

In this paper, I explore the question of agency in spontaneous action via a phenomenology of musical improvisation, drawing on fieldwork conducted with large con- temporary improvising ensembles. I argue that musical improvisation is a form of ‘participatory sense-making’ in which musical decisions unfold via a feedback pro- cess with the evolving musical situation itself. I describe how musicians’ technical expertise is developed alongside a responsive expertise, and how these capacities complicate the sense in which habitual action can be (...) viewed as pre-conscious or ‘automatic.’ Nevertheless, I shall argue that the self-awareness required for expert improvisation does not amount to highly reflective deliberation, arguing instead that the practice of musical improvisation involves an exercise of practical rationality, akin to what Aristotle called phronēsis. Musical decisions – as an expressive form of sense-making – are guided by feelings of ‘rightness’ that are experienced directly and intuitively, responding to the norms and reasons that are embedded in the instruments, sounds, and practices of a particular (sub)culture. (shrink)

This paper aims to provide a psychologically-informed philosophical account of the phenomenology of episodic remembering. The literature on epistemic or metacognitive feelings has grown considerably in recent years, and there are persuasive reasons, both conceptual and empirical, in favour of the view that the phenomenology of remembering—autonoetic consciousness, as Tulving influentially referred to it, or the feeling of pastness, as we will refer to it here—is an epistemic feeling, but few philosophical treatments of this phenomenology as an (...) epistemic feeling have so far been proposed. Building on insights from the psychological literature, we argue that a form of feeling-based metacognition is involved in episodic remembering and develop an integrated metacognitive feeling-based view that addresses several key aspects of the feeling of pastness, namely, its status as a feeling, its content, and its relationship to the first-order memories the phenomenology of which it provides. (shrink)

What is the phenomenology of hope? A common view is that hope has a generally positive and pleasant affective tone. This rosy depiction, however, has recently been challenged. Certain hopes, it has been objected, are such that they are either entirely negative in valence or neutral in tone. In this paper, I argue that this challenge has only limited success. In particular, I show that it only applies to one sense of hope but leaves another sense—one that is implicitly (...) but widely employed in the hope literature—untouched. Moreover, I argue that hope construed in this latter sense is inherently positively valenced. The paper concludes by discussing some of the implications of this defense of hope's positive phenomenology, including the ontological question of whether hope is an emotion. (shrink)

The primary focus of this project is the silent and subvocal speech-recognition interface unveiled in 2018 as an ambulatory device wearable on the neck that detects a myoelectrical signature by electrodes worn on the surface of the face, throat, and neck. These emerge from an alleged “intending to speak” by the wearer silently-saying-something-to-oneself. This inner voice is believed to occur while one reads in silence or mentally talks to oneself. The artifice does not require spoken sounds, opening the mouth, or (...) any explicit or external movement of the lips. The essay then considers such subvocal “speech” as a mode of writing or saying and the interior of the mouth or oral cavity as its writing surface. It briefly revisits discussions of telepathy to recontextualize Heidegger’s warning against enframing language exclusively within calculative technics and physiology, which he suggests is detrimental to Mundarten (mouth-modes of regional dialects). It closes in reconsideration of Husserl’s phenomenology of language and meaning in Ideas as it might apply to subvocal speech-recognition interfaces. It suggests ways by which the electrophysiology that the device detects and deciphers (as an alleged intention of a presumed natural language unspoken vocally or aloud) might supplement Husserl’s insinuation of the Leiblichkeit of language through a self-stamping extraction of an extension of meaning. (shrink)