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)

An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...) relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art. (shrink)

La atención relativamente escasa que los estudiosos del filósofo y científico norteamericano Charles S. Peirce (1839-1914) han prestado a lo largo de los años a las dimensiones religiosas de su pensamiento siempre me ha parecido cuando menos sorprendente. Desde mis primeras lecturas de Peirce me impresionó profundamente esa desatención que tanto contrastaba con la ubicuidad de las referencias religiosas en los escritos de Peirce, especialmente en sus años de madurez. En mis encuentros con reconocidos estudiosos peirceanos solía preguntarles acerca de (...) Dios y la religión en Peirce, y la respuesta que recibí casi siempre fue que efectivamente había una gran cantidad de cuestiones religiosas en su obra, pero que no estaban interesados en ellas. Por otra parte, me sorprendió gratamente que el fallecido novelista Walker Percy se considerara a sí mismo en su correspondencia con Ken Ketner como “un ladrón de Peirce”, aspirando a “usar a CSP como uno de los pilares de la apologética cristiana”. Me pareció que el novelista converso al catolicismo estaba en algún sentido mucho más cercano al Peirce real que aquellos estudiosos a los que les había preguntado acerca de Dios y la religión en Peirce. -/- El objetivo de este artículo es subrayar el hecho de que para Peirce la creencia en Dios no es sólo un producto natural de la abducción o "instinto racional", de las conjeturas educadas del científico o del hombre corriente, sino que también la creencia en Dios y el desarrollo científico están interrelacionados. No sólo la creencia en Dios es capaz de cambiar la conducta del creyente, sino que de acuerdo con Peirce la realidad de Dios dota de sentido a toda la empresa científica. Esto puede sonar un poco extraño a los oídos positivistas contemporáneos, pero para comprender realmente a Peirce es preciso estudiar sus preocupaciones religiosas, que de forma creciente se consideran quizá tan importantes filosóficamente como sus preocupaciones científicas6. Más aún, en algún sentido quiero sugerir que para Peirce la actividad científica es una empresa genuinamente religiosa, quizá incluso la actividad religiosa por excelencia, y que separar religión y ciencia es contrario tanto al espíritu científico como al Peirce real. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

Este ha sido el mundo infantil – imposible y contradictorio – que sentimos habitar en este escrito, en esta escritura. En ese mundo, como ahora, el inicio y el final coinciden. En ese mundo, que Heráclito llamaría aión, es la infancia la que gobierna. Un gobierno infantil. Por lo tanto, es tiempo de callarnos. De estarnos sin tanta luz y sin tantas palabras. Para dormir y soñar. Es tiempo de terminar. O de comenzar. Los y las lectores infantiles (no) tienen (...) la palabra. Nosotros ya (no) la tenemos… (¡hipo!). (shrink)