There is no doubt that Computer troubleshooting is important for organizations and companies and for personal use level. Sound cards troubles is one of the most annoying problems in computers. It causes damage and troubles in computers to persons, organizations and firms. Correctly, expert systems can greatly help to avoid damage to these computers. designed to diagnose and troubleshoot issues related to sound cards in computer systems. The expert system is developed using a combination of rule-based and (...) machine learning approaches, which allows for accurate and efficient diagnosis of a wide range of sound card problems. Objectives: An expert system has been established based on CLIPS to diagnose Computer Problems. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can (...) be compared to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

Rawls saw need for non-ideal theory also within society but never developed that project. In this chapter, Card suggests that the non-ideal part of Rawls’ Law of Peoples can be a resource for thinking about responding to evils when the subject is not state-centered. It is plausible that defense against great evils other than those of aggressive states should be governed by analogues of scruples that Rawlsian well-ordered societies observe in defending themselves against outlaw states. This essay explores those (...) hypotheses in relation to women’s self-defense and mutual defense against evils of misogyny, the term feminists apply to the most deeply hostile environments of and attitudes toward women and girls and to the cruelest wrongs to them/us, regardless whether perpetrators harbor feelings of hatred. It extrapolates and adapts to this case values, concepts, and methods from Rawls’s life’s work, especially his writing on war. (shrink)

Thinking of the evils of homophobia and what is needed to survive them requires acknowledging a new category of evil besides the evils of individual deeds, social practices and social structures. That further category is evil social environments. Building on the work of Jeremy Waldron on the harm in hate speech, this chapter extends that account to certain hate crimes that, like the written word, send a lingering social message. The cases of four women survivors of homophobia are then examined (...) in relation to such harm. Two who wrote memoirs had been targeted for murder, one in an evil environment, the other in a more positively responsive environment. The remaining two survival stories are less dramatic. But they are important in how they illustrate ordinary challenges faced successfully by lesbians and gay men in emotionally toxic environments, and how, in this sense, those not directly threatened with murder might still be justly regarded as survivors. The chapter concludes with reflections on the meanings of survival and some of the costs of surviving an evil homophobic environment. (shrink)

Abstract: Background: In spite of the fact that computers continue to improve in speed and functions operation, they remain complex to use. Problems frequently happen, and it is hard to resolve or find solutions for them. This paper outlines the significance and feasibility of building a desktop PC problems diagnosis system. The system gathers problem symptoms from users’ desktops, rather than the user describes his/her problems to primary search engines. It automatically searches global databases of problem symptoms and solutions, and (...) also allows ordinary users to contribute exact problem reports in a structured manner. Objectives: The main goal of this Knowledge Based System is to get the suitable problem desktop PC symptoms and the correct way to solve the errors. Methods: In this paper the design of the proposed Knowledge Based System which was produced to help users of desktop PC in knowing many of the problems and error such as : Power supply problems, CPU errors, RAM dumping error, hard disk errors and bad sectors and suddenly restarting PC. The proposed Knowledge Based System presents an overview about desktop PC hardware errors are given, the cause of fault are outlined and the solution to the problems whenever possible is given out. CLIPS Knowledge Based System language was used for designing and implementing the proposed expert system. Results: The proposed PC desktop troubleshooting Knowledge Based System was evaluated by IT students and they were satisfied with its performance. (shrink)

Abstract: Background: In spite of the fact that computers continue to improve in speed and functions operation, they remain complex to use. Problems frequently happen, and it is hard to resolve or find solutions for them. This paper outlines the significance and feasibility of building a desktop PC problems diagnosis system. The system gathers problem symptoms from users’ desktops, rather than the user describes his/her problems to primary search engines. It automatically searches global databases of problem symptoms and solutions, and (...) also allows ordinary users to contribute exact problem reports in a structured manner. Objectives: The main goal of this Knowledge Based System is to get the suitable problem desktop PC symptoms and the correct way to solve the errors. Methods: In this paper the design of the proposed Knowledge Based System which was produced to help users of desktop PC in knowing many of the problems and error such as : Power supply problems, CPU errors, RAM dumping error, hard disk errors and bad sectors and suddenly restarting PC. The proposed Knowledge Based System presents an overview about desktop PC hardware errors are given, the cause of fault are outlined and the solution to the problems whenever possible is given out. CLIPS Knowledge Based System language was used for designing and implementing the proposed expert system. Results: The proposed PC desktop troubleshooting Knowledge Based System was evaluated by IT students and they were satisfied with its performance. (shrink)

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)

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)

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.

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)

An analysis of a valenced corpus of English words revealed that words that rhyme with slurs are rated more poorly than their synonyms. What at first might seem like a bizarre coincidence turns out to be a robust feature of slurs, one arising from their phonetic structure. We report novel data on phonaesthetic preferences, showing that a particular class of phonemes are both particularly disliked, and overrepresented in slurs. We argue that phonaesthetic associations have been an overlooked source of some (...) of the more peculiar, arational aspects of slurs. We conclude by drawing broader morals about the evolution of the lexicon. (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)

Could the intersection of [formal proofs of mathematical logic] and [sound deductive inference] specify formal systems having [deductively sound formal proofs of mathematical logic]? All that we have to do to provide [deductively sound formal proofs of mathematical logic] is select the subset of conventional [formal proofs of mathematical logic] having true premises and now we have [deductively sound formal proofs of mathematical logic].

Card argues that we should not give injustice priority over evil. I agree. But I think Card sets us up for some difficult balancings, for example of small evils against middle sized injustices. I suggest some ways of staying off the tightrope.

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)

It’s sometimes suggested that we can (in a sense) settle the truth-value of some statements in the language of number theory by stipulation, adopting either φ or ¬φ as an additional axiom. For example, in Clarke-Doane (2020b) and a series of recent APA presentations, Clarke-Doane suggests that any Σ01 sound expansion of our current arithmetical practice would express a truth. In this paper, I’ll argue that (given a certain popular assumption about the model-theoretic representability of languages like ours) we (...) can’t know ourselves to have any such freedom. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

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 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)

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)

Over the course of its six seasons, the Netflix show the House of Cards (HOC) details the rise to power of Claire and Frank Underwood in a fictional United States. They achieve power not by winning free and fair elections, but by exploiting various weaknesses of the U.S. political system. Could such a thing happen to our own democracies? This chapter argues that it is a threat that should be taken seriously, as the structure of HOC’s democratic institutions closely mirrors (...) our own, and the flaws that the Underwoods exploit are precisely those that have allowed autocrats to capture democracies “from the inside.” Of even greater concern, these flaws may flow from the nature of democracy itself. This possibility is explored by considering the events of the HOC in the light of the anti-democratic arguments of Plato and Hobbes. The chapter concludes by briefly considering responses to these arguments. (shrink)

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That portrayal, (...) however, is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

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)

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)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in the (...) cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

We respond to some of the points made by Bennet and Blanck (2022) concerning a previous publication of ours (2021).

In recent years, some eminent scientists have argued that free will, as commonly understood, is an illusion. Given that questions such as ‘do we have free will?’ were once pursued solely by philosophers, how should science and philosophy coalesce here? Do philosophy and science simply represent different phases of a particular investigation—the philosopher concerned with formulating a specific question and the scientist with empirically testing it? Or should the interactions between the two be more involved? Contemporary responses to such questions (...) have occasionally given rise to conflict amongst members of different disciplines. Some individual scientists have dismissed philosophical objections to their scientific theories on the grounds that the philosopher lacks experience in their respective field. And some individual philosophers have rejected scientific theories on a priori grounds, without giving due consideration to the empirical evidence. In this paper, I argue that such dismissiveness, on both sides, is mistaken. I will do so by putting forward a view that is inspired by the American philosopher and psychologist William James, who has been characterised by recent commentators as having performed ‘boundary work’. Boundary work involves transgressing the dividing lines between such disciplines, and attempting to solve certain problems without being restricted to the methodology of a single discipline. To help support this position, I will examine a series of contemporary problems that are pursued in both philosophy and science that relate to moral responsibility and free will. I will argue that in order to solve such problems we need to perform boundary work. (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)

A common response to claims of bias, harassment, or discrimination is to say that these claims are made in bad faith. Claimants are supposedly not motivated by a credible or even sincere belief that unfair or unequal treatment has occurred, but simply seek to illicitly gain public sympathy or private reward. Characterizing discrimination claims as systematically made in bad faith enables them to be screened and dismissed prior to engaging with them on their merits. This retort preserves the dominant group’s (...) self-image as unprejudiced and innocent without having to risk critical analysis of the claim’s substance. (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)

Reasons internalism holds that reasons for action contain an essential connection with motivation. I defend an account of reasons internalism based on the advisor model. The advisor model provides an account of reasons for action in terms of the advice of a more rational version of the agent. Contrary to Pettit and Smith's proposal and responding to Sobel's and Johnson's objections, I argue that the advisor model can provide an account of internal reasons and that it is too caught up (...) in the psychology of the actual agent to be able to account for anything other than internal reasons. (shrink)

Engaging with the philosophical writings of Iris Murdoch, we submit that there are difficulties associated with providing a good description of morality that are intimately connected with difficulties in understanding other human beings. We suggest three senses in which moral philosophical reflection needs to account for our understanding of others: (1) the failure to understand someone is not merely an intellectual failure, but also engages us morally; (2) the moral question of understanding is not limited to the extent to which (...) we understand a particular person, but also presents itself in how we picture difficulties in understanding people; and (3) “philosophical pictures of morality” fundamentally shape the conceptual framework we use to investigate morality, as well as the analysis of morality we find illuminative and satisfactory. Exploring the implications of these claims, we ask what it means to think of others as the same, or as different, from ourselves. We then consider the ethical significance of finding, or not finding, our feet in our encounters with others, dwelling on how the metaphor of movement reveals one way in which we are never at peace in the exploration of morality. (shrink)

"Twilight of the Idols" plays an important role in Nietzsche’s work, since it represents the opening writing of the philosophical project called "Transvaluation of all values". In that text, Nietzsche aims to sound out the "eternal idols", which means to disclose the inconsistency of the principles of traditional metaphysics. The way Nietzsche addresses the "old truths" in Twilight of the Idols leads back to his early writings, when his theory of knowledge is first outlined, inspired by Schopenhauer as much (...) as neo- and post-Kantian thinkers such as F. Lange and A. Spir. As I shall show, these observations can be compared with Ernst Mach's anti-metaphisical attitude to the ordinary world-conception, insofar as Mach as much as Nietzsche stressed the importance of a historical approach as instrument to enlighten the "prejudices" of traditional scientists or philosophers. (shrink)

In this paper I consider two related issues raised by Aristotle 's treatment of hearing and sounds. The first concerns the kinds of changes Aristotle takes to occur, in both perceptual medium and sense organs, when a perceiver hears a sounding object. The second issue concerns Aristotle 's views on the nature and location of the proper objects of auditory perception. I argue that Aristotle 's views on these topics are not what they have sometimes been taken to be, and (...) that when rightly understood they compare favourably in many respects with leading contemporary accounts. (shrink)

XENOLOGY AND XENOTOPOGRAPHY OF BERNHARD WALDENFELS The paper strives to adapt Bernhard Waldenfels’ xenology and so called ‘xenotopography’ for the philosophico-literary studies in fantastic world-building with a special concern of the ‘portal-quest’ model of fantasy and SF. Following Waldenfel’s remarks on the nature of post- Husserlian diastasis of our world [Heimwelt] and otherworld [Fremdwelt] and acknowledging the consequences of allocating one’s attitude towards the otherness in the symbolical borderland [‘sphere of intermonde’] in between, it is examined whether such a model (...) can occur in the fantastic literature and what may be the consequence of xenotopographic reconsideration of its basic ontological premises. Additionally, the article offers an original xenotopograpfic model of worldbuilding which addresses three carefully chosen case studies of fantastic worlds from Orson Scott Card’s Ender’s Game tetralogy, Neil Gaiman’s Stardust and George R. R. Martin’s The Song of Ice and Fire. In the end, it is suggested that hitherto presented xenotopography gravely inspired a postmodern shift in the genres of fantasy and SF which results in more ethically conscious representations of the otherness and even more concise and alien comprehensive world-building. (shrink)

I argue against the Primary Sound Account of Echoes (PSAE) – the view that an echo of a sound just is that sound. I then argue that if my case against PSAE is successful, distal theories of sound are false. The upshot of my arguments, if they succeed, is that distal theories are false. Towards the end, I show how some distal theories can be modified to avoid this conclusion and note some open questions to which (...) the modified theories give rise. (shrink)

Claudia Card did not live long enough to complete her work on surviving evils. Yet she left us an invaluable body of work on this topic. This essay surveys Card's views about the nature of evils and the ethical quandaries of surviving them. It then develops an account of survival agency that is based on Card's insights and in keeping with the agentic capacities exercised by Yezidi women and girls who have escaped from ISIS's obscene program of (...) trafficking in women and sexual violence. Card holds that true survival requires not only staying alive and as healthy as possible but also preserving your good moral character. The essay maintains that while exercising agency to elude evil and protect yourself often depends on your own skills and personality traits, exercising agency to restore or develop your moral character often depends on social support. (shrink)

Punjabi language is most widely spoken language of Pakistan (Abbas, Chohan, Ahmed, & Kaleem, 2016). Punjabi is under developed language because of which, upcoming generations are shifting to other technically and digitally developed languages such as Urdu and English. In result of which, the sound shift is being observed in Punjabi language. Sounds which used to be present in the past in Punjabi language are found missing now. This leads to a problematic situation that this sound shift may (...) result in language extinction and sound loss. This study is about the sound change and it has been studied in Punjabi language. On the basis of observation of speech in surrounding, researcher made a hypothesis that those speakers of Punjabi language who acquired Punjabi as L1 are able to produce few distinctive sounds that are not produced by the speakers who acquired Urdu as a mother tongue. For this purpose, a corpus of 2 million words was collected and the words including the sounds |n|ن and |l| ل were particularly shortlisted from the corpus. The speakers from both origins were asked to pronounce these words, the hypothesis was proved and, in result, variations in the pronunciation of sounds were observed. Sociolinguists and Phonologists need to heed on this issue to save Punjabi language from extinction. -/- . (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)

Open Access: This essay argues that Claudia Card numbers among important contributors to nonideal ethical theory, and it advocates for the worth of NET. Following philosophers including Lisa Tessman and Charles Mills, the essay contends that it is important for ethical theory, and for feminist purposes, to carry forward the interrelationship that Mills identifies between nonideal theory and feminist ethics. Card's ethical theorizing assists in understanding that interrelationship. Card's philosophical work includes basic elements of NET indicated by (...) Tessman, Mills, and others, and further offers two important and neglected elements to other nonideal ethical theorists: her rejection of the “administrative point of view,” and her focus on “intolerable harms” as forms of “extreme moral stress” and obstacles to excellent ethical lives. The essay concludes that Card's insights are helpful to philosophers in developing nonideal ethical theory as a distinctive contribution to, and as a subset of, nonideal theory. (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)

I argue that an analogy between pains and sounds suggests a way to give an objective account of pain which fits well with a naïve perceptualist account of feeling pain. According to the proposed metaphysical account, pains are relational physical events with shared qualitative nature, each of which is constituted by tissue damage and the activation of nociceptors. I proceed to show that the metaphysical proposal is compatible with platitudes about pains being animate, private, and self-intimating states.

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)

In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal (...) character that is determined by the amount of attention that an underlying perceptual representation commands. I distinguish quantitative from qualitative character; even qualitative characters that represent degrees of sensible magnitudes are phenomenally and functionally distinct from quantitative characters. A bifurcated account of phenomenal character emerges; the phenomenal is not exhausted by the qualitative. (shrink)

Difficulty in producing natural English sounds by Indonesian learners of English is due to the divergence in manner of producing the sounds in English and Indonesia and resulted in unnatural pronunciation of the English sounds. This research addresses the issue of English sound production with special attention to segmental sounds produced by Indonesian learners of English. Descriptive method was used to explain the data collected from picture description task and interview. The study was divided into two: 1) an in-depth (...) phonetic analysis of the students’ sounds production in terms of place of articulation, manner of articulation and distinctive features for the production of English consonant sounds, and openness of mouth, tongue elevation, position of tongue elevation, lips’ shapes, and length of vocalization for the production of the English vowel sounds and 2) detailed explanation about the contributory factors to the production of segmental sounds quality in terms of unnatural performance and unnatural competence. The findings of this research denoted that the most to least frequent problematic sounds produced by the student occur in [ð] voiced dental fricative (38.15%) for consonant sound and [ӕ] Lax Low Front Unrounded (38.46%) for vowel sound. The most potential influential factors to the problematic English sounds production are the learners’ mother language interference and the less practice of speaking English. Both are indicators of unnatural performance. (shrink)

In the present article, I show that sounds are properties that are not physical in a narrow sense. First, I argue that sounds are properties using Moorean style arguments and defend this property view from various arguments against it that make use of salient disanalogies between sounds and colors. The first disanalogy is that we talk of objects making sounds but not of objects making colors. The second is that we count and quantify over sounds but not colors. The third (...) is that sounds can survive qualitative change in their auditory properties, but colors cannot survive change in their chromatic properties. Next, I provide a taxonomy of property views of sound. As the property view of sound has been so rarely discussed, many of the views available have never been articulated. My taxonomy will articulate these views and how they are related to one another. I taxonomize sounds according to three characteristics: dispositional/non-dispositional, relational/non-relational, and reductive/non-reductive. Finally, mirroring a popular argument in the color literature, I argue that physical views in the narrow sense are unable to accommodate the similarity and difference relations in which sounds essentially stand. I end replying to three objections. (shrink)

Humans coordinate their focus of attention with others, either by gaze following or prior agreement. Though the effects of joint attention on perceptual and cognitive processing tend to be examined in purely visual environments, they should also show in multisensory settings. According to a prevalent hypothesis, joint attention enhances visual information encoding and processing, over and above individual attention. If two individuals jointly attend to the visual components of an audiovisual event, this should affect the weighing of visual information during (...) multisensory integration. We tested this prediction in this preregistered study, using the well-documented sound-induced flash illusions, where the integration of an incongruent number of visual flashes and auditory beeps results in a single flash being seen as two (fission illusion) and two flashes as one (fusion illusion). Participants were asked to count flashes either alone or together, and expected to be less prone to both fission and fusion illusions when they jointly attended to the visual targets. However, illusions were as frequent when people attended to the flashes alone or with someone else, even though they responded faster during joint attention. Our results reveal the limitations of the theory that joint attention enhances visual processing as it does not affect temporal audiovisual integration. (shrink)