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)

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

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)

This study proposes a framework by which grammatically and syntactically sound sentences are classified through the perceptual measurement in noise of multilinguals and monolinguals, using an objective measure called SPERI and an interpretivist measure called SPIn, with results evaluated using Shortlist models and the BLINCS model. Hereby filling a knowledge gap on the perception of sentences that combine in varying levels of contextual meaning, linguistic load and cognitive load, this study used sentence clustering methods to find limitations of (...) the proposed framework in determining an absolute and accurate prediction of performance between sentences in the proposed different categories, with factors such as sentence predictability and word frequency taking precedence. There were unintended findings including a relationship between the number of languages spoken and performance, proficiency in other languages decreasing performance despite being an English Native, and how mistakes by multilinguals were more semantically and phonetically influenced than monolinguals. (shrink)

This essay examines the cultural phenomena of noise in its perceived social constructions and demonstrates its emergence as a form of resistance against prevailing dominant hegemonic codes of culture. In particular, the paper explores the ability of noise to be enacted as a tool to escape the shackles of heteronormative constructions of sexuality and gender in the cultural landscape of the United States. Examined to support this argument are the contrasting works of two American artists: John Cage and (...) Emilie Autumn. Through Cage and his avant-garde articulations of sound, covert acts of resistance against the dominant heteronormative constructions of masculinity are explored, and through Autumn’s classical crossover work, a more overt and explicit form of resistance to subvert gender stereotypes and structures of normality and patriarchy are illuminated. Additionally, the paper explores possibilities for artists to engage with other movements, such as disability activism to create new possibilities for change. -/- . (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)

The surprising comment Wittgenstein makes at the end of his Tractatus suggests that, even though the analysis of words is the proper method of doing philosophy, philosophy’s ultimate aim may be to experience silence. Whereas Wittgenstein never explains what he meant by his cryptic conclusion, Kant provides numerous clues as to how the same position can be understood in a more complete and systematic way. Distinguishing between the meanings of “silence,” “noise” and “sound” provides a helpful way of (...) understanding how philosophers can devote so much effort to analyzing words even though their quest is ultimately fulfilled only in a deep experience of reality that is most adequately expressed in silence. (shrink)

Inner speech is commonly understood as the conscious experience of a voice within the mind. One recurrent theme in the scientific literature is that the phenomenon involves a representation of overt speech, for example, a representation of phonetic properties that result from a copy of speech instructions that were ultimately suppressed. I propose a larger picture that involves some embodied objects and their misperception. I call it “the Body Error Theory,” or BET for short. BET is a form of illusionism, (...) but the particular version I favor is a cross-modal illusion. Newly described here, my hypothesis is that the experience of inner speech arises from a mix of interoception and audition. Specifically, there is the detection of slight but well-confirmed activities in the speech musculature that occur during inner speech, which helps to transform representations of normal but quiet nonverbal sounds that inevitably occur during inner speech, from breathing to background noise, into a mistaken perception of inner speech. Simply put, activities in the speech musculature mix with sounds to create the appearance of speech sounds, which thus explains the “voice within the mind.” I also show how BET’s cross-modal system fits with standard information processing accounts for speech monitoring and how it accommodates the central insights of leading theories of inner speech. In addition, I show how BET is supported by data from experience-sampling surveys and how it can be empirically tested against its rivals. (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)

Minóy provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.

The current literature on norms of inquiry features two families of norms: norms that focus on an inquirer’s ignorance and norms that focus on the question’s soundness. I argue that, given a factive conception of ignorance, it’s possible to derive a soundness-style norm from a version of the ignorance norm. A crucial lemma in the argument is that just as one can only be ignorant of a proposition if the proposition is true, so one can only be ignorant with respect (...) to a question if the question is sound. (shrink)

Are the most concerning consequences of light and noise pollution detrimental to human health? In my opinion, light and noise pollution may be causing a greater worry at the societal level by widening the gap between human generations living in cities and nature.

We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not (...) present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them. (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)

(The Kindle book can be ordered for $3.21 from Amazon) -/- Thinking is a fundamental activity of our species – those that give names to other creatures and call themselves humans. Textbooks tell us that there is about 1.2 kg of matter called the brain inside the human body. It sounds small but actually is proportionally the biggest among all animals on Earth. -/- I became more aware of thinking at around 5th grade upon hearing about an ancient paradox. It (...) can be summarized as follows. -/- ¤ -/- Once upon a time, there was a stupid king. In his kingdom lived a sage who was highly respected for his intelligence. The King did not appreciate this fact. Maybe the Sage made fun of the King’s intellect, but I am not so sure. Anyway, one day, the King summoned the Sage, intending to kill him. -/- The King said, “Wise man, I heard you earn a living by thinking and arguing. Now I give you two options to die.” -/- The Sage said, “Please tell me the choices, Your Majesty.” -/- The King continued, “You live by your tongue, so I will let you say one sentence before you die. If what you say is true, you will die by hanging. If what you say is false, you will die by beheading.” -/- Little did the King know that this was a stupid order. After a short while, the Sage confidently spoke his “last words”, which actually were what saved his life: -/- “Your Majesty, I am about to be beheaded!” -/- ¤ -/- As a “wild animal” going out into life from a young age, my brain spent a lot of time and energy looking for food. Now that I have become older, my body no longer needs so much sustenance. However, my mind craves a different type of nourishment: food for thought. -/- Food for thought can directly lead to food (on the table). My main job as a scientist exemplifies what I have just stated. Maybe we were wrong. Maybe it has been “thought for food” all along, like in such a sequence as TFFTTTFTFFTTFFFT... -/- In the hyper-chaotic infosphere today, we are surrounded by the noises of information, not only as wavy shores or waterfalls but also mega-tsunamis, through Twitter, Facebook, Tiktok, Instagram, Youtube, etc. More than ever, tranquility and calmness are necessary. Like what you have seen in wilderness video clips, predators such as lions, bears, and alligators act lightning-fast when catching prey. But when food is served, the natural world returns to its peaceful, soothing silence. -/- This short book is in its own tidy infosphere, where each little story is also brief and self-contained. Despite this small appearance, I hope the content inside carries the value of tranquility and life observation. The book is petite, but pretty sure not malnourished. A not-too-small detail is that the way the content was shaped and distilled reflects some innovations of mine and my research team: the mindsponge theory, a new theory of serendipity, the bayesvl R package, the BMF analytics, as well as other experiences from working in the field of science. After all, scientific works were my main source of food (before this book sells well – if it does). -/- Welcome to the priceless sober moments – with a chicken-burger price tag! -/- I hope this book will bring readers some moments of calmness, peaceful smiles, and maybe a couple of good laughs too. -/- ~~~ -/- *This update: December 12, 2023 (Third edition, with additions). (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)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains (...) controversial in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

What is the concept of sense developed by Deleuze in his 1969 Logic of Sense? This paper attempts to answer this question analysing the three dimensions of language that Deleuze isolates: the primary order of noises and intensities ; the secondary order of sense ; and the tertiary organisation of propositions. What renders language possible is that which separates sounds from bodies and organises them into propositions, freeing them for the expressive function. Deleuze argues that it is the dimension of (...) sense that brings about this genesis of language, and he analyses in detail the three syntheses that bring about the production of this surface of sense. Yet Deleuze also distinguishes between two types of non-sense: the nonsense of Lewis Carroll's portmanteau words, which remain ensconced in the dimension of sense, and the more profound nonsense of Antonin Artaud's psychotic scream-breaths, which penetrate the almost unbearable world of the primary order of noise and intensities. In the end, the focus of Logic of Sense is less the surface domain of sense than the primary depth of corporeal intensities. What Deleuze calls a ‘minor’ use of language is nothing other than an intensive use of language that constitutes a principle of metamorphosis. (shrink)

Noise and silence as social phenomena with certain depths in terms of their cultural value, when viewed through the lens of the mindsponge theory, become very interesting and often contain many underlying educational implications.

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a (...) more defensible form. Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

In “Real Patterns” Daniel Dennett developed an argument about the reality of beliefs on the basis of an analogy with patterns and noise. Here I develop Dennett’s analogy into an argument for descriptivism, the view that belief reports do no specify belief contents but merely describe what someone believes, and show that this view is also supported by empirical evidence. No description can do justice to the richness and specificity or “noisiness” of what someone believes, and the same belief (...) can be described by different sentences or propositions (which is illustrated by Dennett’s analogy, some Gettier cases, and Frege’s puzzle), but in some contexts some of these competing descriptions are misleading or even false. Faithful (or truthful) description must be guided by a principle (or principles) related to the principle of charity: belief descriptions should not attribute irrationality to the believer or have other kinds of “deviant” implications. (shrink)

What connection is there between linguistic sounds and meaning? The present study claims that there is no such connection, and that linguistic sounds are the same as meaning. It is traditionally accepted that there is an arbitrary association between linguistic sounds and meaning. In the present paper, drawing from the concept of language authority for mind, I will talk about a distinction between live time of understanding - in which linguistic sounds are produced and understood - and non-live or historical (...) time of understanding. Through making this distinction, I will show that in live time of understanding, assuming any relationship between the mental state of linguistic sounds and that of meaning is inadequate, and that the best way to explain why linguistic sounds are understood instantly and effortlessly as soon as they are heard is to imagine that linguistic sounds are the same as meaning or that at least we are only faced with a single sound-meaning mental state. In addition, making a comparison between hearing linguistic sounds and seeing objects helps us consider linguistic sounds the same as meaning in the context of live time of understanding. (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)

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)

The proper sensible criterion of sensory individuation holds that senses are individuated by the special kind of sensibles on which they exclusively bear about (colors for sight, sounds for hearing, etc.). H. P. Grice objected to the proper sensibles criterion that it cannot account for the phenomenal difference between feeling and seeing shapes or other common sensibles. That paper advances a novel answer to Grice's objection. Admittedly, the upholder of the proper sensible criterion must bind the proper sensibles –i.e. colors– (...) to the common sensibles –i.e. shapes– so as to account for the visual phenomenal character of shapes. But, as Grice rightly objected, neither association, nor ontological dependence will do –I spend some time isolating why dependence is a bad answer here, basically because the dependence of shape on colors is generic, and that genericity is arguably not part of the phenomenal content of perception. -/- Grice is wrong, however, to think that once association and dependence have been rebutted, there is no other way to attach color to extension. The right way to connect proper and common sensibles is rather trivial, although it seems to have been widely neglected: proper sensibles FILL common ones. To see a shape, by contrast to feeling it, is to perceived as filled by some color. To feel a shape, is to perceive it as, say, filled by pressure. Filling in is the phenomenal connection between proper and common sensibles. -/- One important corollary of that proposal is that proper sensibles –color, pressure, noise, taste...– have to belong to the category of stuffs, in the sense of uncountable entities. Against the widespread view that colors are properties, which have countable instances, the last part of the paper argues that colors are phenomenal stuffs, which fill some visual area. One commits a category mistake in asking: "How many tropes/instances of this determinate redness is there on that ladybird". One should rather ask "How much of this determinate redness is there on that ladybird". (shrink)

In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that (...) one cannot understand the organized sound condition and the socio-historical condition separately and that understanding their interaction has theoretical benefits—not least of which is providing a groundwork for a more culturally inclusive philosophy of music. Finally, I consider a number of outstanding questions concerning the content of the organized sound condition for Western art music in the wake of 4’33”. (shrink)

This book presents a (new) attempt to apply the notion of an underlying logic to Aristotle’s Organon and certain passages of the Metaphysics. The author situates his approach as part of a ‘deductio...

According to the evaluativist theory of bodily pain, the overall phenomenology of a painful experience is explained by attributing to it two types of representational content—an indicative content that represents bodily damage or disturbance, and an evaluative content that represents that condition as bad for the subject. This paper considers whether evaluativism can offer a suitable explanation of aversive auditory phenomenology—the experience of awful noises—and argues that it can only do so by conceding that auditory evaluative content would be guilty (...) of widespread error. Defending such an error-theory, moreover, comes with several explanatory costs. (shrink)

This chapter outlines an embodied conception of noise. From an enactive and ecological perspective noise is an inevitable complement to the richness of bodily sensitivities and complex actions. The world around us, the universe, is replete, full of inexhaustible texture available to be explored at every scale at which we are capable, or can become capable, of making distinctions. Drawing on work in ecological psychology I suggest that noise is our experience of that encompassing fullness, and can (...) be encountered in a number of different ways depending on the organisation of our bodies and activities at different scales across a given period. While that fullness can be overwhelming, and create challenges for us to distinguish and coordinate effectively with the particular aspects of the world most relevant to our present concerns - noise can be intrusive and disruptive - I argue that there are significant positive aspects to the phenomenon. Noise is an inherent part of the rich messiness of the world as discussed in recent enactive work, which provides both robustness to developmental processes as well as opportunities for action that support adaptive agency. In a noisy, messy world there are always more options available to explore. (shrink)

Noise reduction is the major issue in the loudspeaker for the application of the musical instruments and related areas. In this paper, a noise disturbance control of a loudspeaker with optimal and robust controllers has been done successfully. The noise of the loudspeaker has been analyzed by simply track a reference cone displacement with the actual cone displacement. Static output feedback and H infinity optimal loop shaping controllers have been used to compare the actual and reference cone (...) displacements by using a sine wave and random cone displacement signals and a promising results have been analyzed. (shrink)

This paper concerns how extant theorists of predictive coding conceptualize and explain possible instances of cognitive penetration. §I offers brief clarification of the predictive coding framework and relevant mechanisms, and a brief characterization of cognitive penetration and some challenges that come with defining it. §II develops more precise ways that the predictive coding framework can explain, and of course thereby allow for, genuine top-down causal effects on perceptual experience, of the kind discussed in the context of cognitive penetration. §III develops (...) these insights further with an eye towards tracking one extant criterion for cognitive penetration, namely, that the relevant cognitive effects on perception must be sufficiently direct. Throughout these discussions, we extend the analyses of the predictive coding models, as we know them. So one open question that surfaces is how much of the extended analyses are genuinely just part of the predictive coding models, or something that must be added to them in order to generate these additional explanatory benefits. In §IV, we analyze and criticize a claim made by some theorists of predictive coding, namely, that (interesting) instances of cognitive penetration tend to occur in perceptual circumstances involving substantial noise or uncertainty. It is here that our analysis is most critical. We argue that, when applied, the claim fails to explain (or perhaps even be consistent with) a large range of important and uncontroversially interesting possible cases of cognitive penetration. We conclude with a general speculation about how the recent work on the predictive mind may influence the current dialectic concerning top-down effects on perception. (shrink)

The developing body of empirical work on the "Gettier effect" indicates that, in general, the presence of a Gettier-type structure in a case makes participants less likely to attribute knowledge in that case. But is that a sufficient reason to diverge from a JTB theory of knowledge? I argue that considerations of good model selection, and worries about noise and overfitting, should lead us to consider that a live, open question. The Gettier effect is perhaps so transient, and so (...) sensitive to other, epistemologically-inappropriate factors, that it raises the question of whether it ought to be counted as something to include in our theories -- or as a piece of noise to be excluded from them. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (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.

Sound is one of the types of waves that can be felt by the sense of hearing (ears). In physics, the definition of sound is something that is produced from objects that vibrate. Objects that produce sound are called sound sources. The sound source that vibrates will vibrate the molecules into the air around it. Sound is mechanical compression or longitudinal waves that propagate through the medium. This medium or intermediate agent can be liquid, (...) solid, gas. So, sound waves can propagate for example in water, coal, or air. Most sounds are a combination of various vibratory signals composed of harmonic waves, but pure sound can theoretically be explained by oscillating vibrational speed or frequency measured in Hertz (Hz) vibration units and amplitude or loudness of sound with measurements in decibels (dB). The effect sounds can have on us humans is simply astounding. While everyday life becomes stressful, overcrowded and increasingly hectic, we seek ways for inner peace and balance. The power of music, felt through overtone-rich sound therapy and sound massage, can be a solution. No matter how much scientific explanation is behind it, healing through music remains fascinating, even magical. This paper introduces a new field called cymatics and sound healing with their plausible impact to spirituality and consciousness research. (shrink)

Noise reduction is the major issue in the loudspeaker for the application of the musical instruments and related areas. In this study, a noise disturbance control of a loudspeaker with optimal and robust controllers has been done successfully. The noise of the loudspeaker has been analyzed by simply track a reference cone displacement with the actual cone displacement. Static output feedback and H4 optimal loop shaping controllers have been used to compare the actual and reference cone displacements (...) by using a sine wave and random cone displacement signals and a promising results have been analyzed. (shrink)

To avoid difficulties facing intention-based accounts of indexicals, Cohen () recently defends a conventionalist account that focuses on the context of tokening. On this view, a token of ‘here’ or ‘now’ refers to the place or time at which it tokens. However, although promising, such an account faces a serious problem: in many speech acts, multiple apparent tokens are produced. If I call Alaska from Paris and say ‘I'm here now’, an apparent token of my utterance will be produced in (...) both Paris and Alaska. The token-contextual account seems to imply that in such cases I will refer to both places and contradict myself. Here I argue that to resolve this and similar puzzles we must realize that not all apparent semantic tokens really are semantic tokens, and that to decide which ones count we must appeal to speaker intentions. However, because this appeal is made at the level of the metaphysics of semantic tokens rather than to determine their meaning, it does not raise the problems associated with intentionalism that the conventionalist hopes to avoid. The metaphysics of semantic tokens uncovered is surprisingly complex, showing that shapes and sounds can transition in and out of being utterances. (shrink)

This article critically examines the structure and implications of the argument in ST 1, Q2, A3, associated with Aquinas’ First Way. Our central endeavor is to discern whether a certain disambiguation of point 6 (“There is something that is not moving/changing that moves/changes other things”) can be logically inferred from points 1-5. Through a three-part proof, the article establishes that under specific conditions, it can indeed be inferred. However, this interpretation notably diverges from Aquinas’ intended conclusion and subsequent stronger interpretations (...) of the claim. The paper also engages in discussions surrounding the soundness of the argument, assessing the plausibility of its premises in light of physics and logical analysis. The contribution does not seek to speculate on Aquinas’ understanding or to dismiss his perspective but rather to delineate what follows from his First Way premises, highlighting discrepancies with contemporary views on the nature of existence, particularly the notion of God. (shrink)

The adoption of web-based telecare services has raised multifarious ethical concerns, but a traditional principle-based approach provides limited insight into how these concerns might be addressed and what, if anything, makes them problematic. We take an alternative approach, diagnosing some of the main concerns as arising from a core phenomenon of shifting trust relations that come about when the physician plays a less central role in the delivery of care, and new actors and entities are introduced. Correspondingly, we propose an (...) applied ethics of trust based on the idea that patients should be provided with good reasons to trust telecare services, which we call sound trust. On the basis of this approach, we propose several concrete strategies for safeguarding sound trust in telecare. (shrink)

I identify two components in the perception of musical pitches, which make pitch perception more like colour perception than it is usually taken to be. To back up this implausible claim I describe a programme whereby individuals can learn to identify the components in musical tones. I also claim that following this programme can affect one's pitch-recognition capacities.

Anorexia Nervosa (AN) is a complex disorder characterised by self-starvation, an act of self-destruction. It is often described as a disorder marked by paradoxes and, despite extensive research attention, is still not well understood. Much AN research focuses upon the distorted body image that individuals with AN supposedly experience. However, based upon reports from individuals describing their own experience of AN, I argue that their bodily experience is much more complex than this focus might lead us to believe. Such research (...) often presents an overly cognitive understanding of bodily experience in AN, underplaying the affective, felt experience of individuals with AN, as well as descriptions of empowerment, strength and control reported in the early stages of AN. This paper seeks to enrich our understanding of bodily experience in AN as it progresses throughout the various stages of the disorder. I show how the classical phenomenological distinction between the body-as-subject and the body-as-object, as well as Leder’s conception of the visceral body, can inform our understanding of bodily experience in AN. I suggest that the project of self-starvation is an attempt to overcome the noisy demands of the visceral body, which are experienced as threatening the body-as-subject, through a process of objectifying the body-as-object. By cashing out AN as a project of radical bodily control that, tragically, comes to control the individual, we can capture important aspects of the bodily experience of AN and the temporal progression of the disorder. -/- . (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

The ear is one of our sensory organs that allow us to perceive our surroundings. We perceive with it the voices that the objects possess by means of the waves within the mass of air surrounding us. In this sense, the ear has an important value for being. In the Qur'an, besides being an ear or a sensory organ, it reveals a person who reflects his level of consciousness and perception, revealing his awareness. It is not just the voices heard; (...) the ear is special importance in understanding what is being said and what is said. Other sense organs and mold are mentioned together because of the feature. Of course, the word "voice" is also on the agenda when the ear is concerned. The verses found at the base of the basic qualities that man should possess present important dynamics about sound. Beyond being a symptom of voice being an inherent symptom, the latest discovery is pointing to the dimension of telling the apocalypse. This study tries to show in what context the hearing aid ear is expressed in the verses and its distinctive features, and its associated value, as well as its inherent value. (shrink)

This article presents the proposal of the principle of sound and light from mathematics and physics, as the origin of nature and the universe, using the Cartesian plane, together with the triadic plane of potential manifestation and complex organisation, starting from the contributions of four pre-Socratic philosophers, Pythagoras of Ephesus, Parmenides of Elea, Heraclitus of Samos and Democritus of Abdera, thus identifying essential principles of the origin of these, to conclude with the most important demonstrations of this theory, which (...) allow its articulation with current science. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (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)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop (...) a path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural (...) noise by applying the audio understanding of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux. -/- Immersion Into Noise is intended as a conceptual handbook useful for the development of a personal-political-visionary art of noise. On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? Joseph Nechvatal explores this intriguing question in Immersion Into Noise. (shrink)