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

This article presents a phenomenological investigation of auditory perception in which silence, background auditory noise, and bodily resonance are examined not as secondary or deficient phenomena, but as fundamental dimensions of auditory consciousness. In contrast to event-based, neurophysiological, and clinical approaches that primarily understand hearing as a response to acoustic stimuli, the proposed analysis focuses on the wave-based and level-structured organization of auditory experience that persists even in the absence of external sounds. Special attention is given (...) to the phenomenon of background hearing, which in everyday discourse is often pathologized under the term tinnitus. Within the framework of this study, background hearing is described as an autonomous process of the auditory field that lacks object-like or event-based status and cannot be unequivocally localized either within the body or within the external environment. It is shown that this phenomenon reveals the impossibility of a complete “switching off” of hearing and bears witness to its continuous wave-like nature. A key element of the analysis is the bodily dimension of hearing. The body is approached not as a passive carrier of sensory mechanisms, but as a resonant structure that shapes the thresholds of auditory sensitivity. Muscular tension is interpreted as a form of bodily oscillation, whose amplitude and rhythm are directly related to the structure of the auditory field. It is demonstrated that intense tension produces an illusion of statics due to the extremely high velocity of oscillations, whereas bodily relaxation reduces internal oscillatory density and opens access to subtler and slower wave-based processes. The central conceptual outcome of the article is an understanding of silence as a multi-level field of auditory consciousness. Silence is described not as the absence of sound, but as a mode in which the same dominant tonal structures of experience are preserved while functioning at a different level of the conscious field. The distinction between sound and silence thus appears not as ontological but as level-based, allowing for a reconsideration of the very nature of auditory perception. The proposed approach expands the phenomenology of sensory experience beyond reductionist models and outlines hearing as a processual, level-organized field in which body, silence, and wave oscillations form a unified structure of experience. (shrink)

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

Notions of objecthood have traditionally been cast in visuocentric terminology. As a result, theories of auditory and cross-modal perception have focused more on the differences between modalities than on the similarities. In this paper we re-examine the concept of an object in a way that overcomes the limitations of the traditional perspective. We propose a new, cross-modal conception of objecthood which focuses on the similarities between modalities instead of the differences. Further, we propose that the auditory system might (...) consist of two parallel streams of processing (the `what' and `where' subsystems) in a manner analogous to current conceptions of the visual system. We suggest that the `what' subsystems in each modality are concerned with objecthood. Finally, we present evidence for—and elaborate on—the hypothesis that the auditory `where' subsystem is in the service of the visual-motor `where' subsystem. (shrink)

Traditional audiovisual cinema distributes cognitive load across visual and auditory channels, with empirical evidence suggesting visual processing dominance (70–83% of cortical resources). This theoretical paper proposes a Proportional Load Hypothesis for auditory- only narratives, arguing that the absence of visual input fundamentally alters cognitive demand characteristics. We critically examine existing neuroscientific literature on unisensory auditory processing, working memory capacity, and sustained attention to derive testable predictions regard- ing optimal duration for audio-only narrative engagement. Based on converging evidence (...) from EEG studies (theta- band power increases), comprehension degradation curves, and working memory capacity models, we propose a 13–15 minute optimal duration window for sustained auditory narrative processing. We discuss sensory compensation strategies, including cross-modal transduction, and outline a research agenda for empirical validation. This framework provides theoretical grounding for emerging audio-only media formats including auditory cinema, podcast narrative design, and accessible media production. (shrink)

Do self‐monitoring accounts, a dominant account of the positive symptoms of schizophrenia, explain auditory verbal hallucination? In this essay, I argue that the account fails to answer crucial questions any explanation of auditory verbal hallucination must address. Where the account provides a plausible answer, I make the case for an alternative explanation: auditory verbal hallucination is not the result of a failed control mechanism, namely failed self‐monitoring, but, rather, of the persistent automaticity of auditory experience of (...) a voice. My argument emphasizes the importance of careful examination of phenomenology as providing substantive constraints on causal models of the positive symptoms in schizophrenia. (shrink)

Philosophers often state that the persistence of objects in vision is experienced differently than the persistence of sounds in audition. This difference is expressed by using metaphors from the metaphysical endurantism/perdurantism debate. For instance, it is claimed that only sounds are perceived as “temporally extended”. The paper investigates whether it is justified to characterize visually experienced objects and auditorily experienced sounds as different types of entities: endurants and perdurants respectively. This issue is analyzed from the perspective of major specifications of (...) the endurance/perdurance distinction connected, inter alia, with the notions of temporal parts and temporal localization. It is argued that it is unjustified to characterize visually experienced objects and auditorily experienced sounds as different types of entities in respect of how they persist. On the other hand, the apparent difference in the way of persisting can be explained by the presence of contingent differences between typical visual and auditory experiences. (shrink)

Despite the recent proliferation of scientific, clinical, and narrative accounts of auditory verbal hallucinations, the phenomenology of voice hearing remains opaque and undertheorized. In this article, we outline an interdisciplinary approach to understanding hallucinatory experiences which seeks to demonstrate the value of the humanities and social sciences to advancing knowledge in clinical research and practice. We argue that an interdisciplinary approach to the phenomenology of AVH utilizes rigorous and context-appropriate methodologies to analyze a wider range of first-person accounts of (...) AVH at 3 contextual levels: cultural, social, and historical; experiential; and biographical. We go on to show that there are significant potential benefits for voice hearers, clinicians, and researchers. These include informing the development and refinement of subtypes of hallucinations within and across diagnostic categories; “front-loading” research in cognitive neuroscience; and suggesting new possibilities for therapeutic intervention. In conclusion, we argue that an interdisciplinary approach to the phenomenology of AVH can nourish the ethical core of scientific enquiry by challenging its interpretive paradigms, and offer voice hearers richer, potentially more empowering ways to make sense of their experiences. (shrink)

Auditory verbal hallucinations are among the most characteristic and clinically significant symptoms of psychotic disorders; however, the mechanisms underlying the formation of their content—particularly its hostile and threatening nature—remain insufficiently understood. The present article proposes a theoretical model that explains the aggressive and threatening content of auditory hallucinations through a mechanism of fear-driven misattribution of inner speech. According to the proposed concept, impairment in the recognition of authorship of inner speech leads to its perception as alien, thereby activating (...) evolutionarily grounded threat-detection systems. The resulting fear is conceptualized not as a secondary emotional reaction, but as an active generative factor that shapes the content of perceived voices through subconscious simulation of potential danger. These simulations are experienced as external utterances, giving rise to a self-sustaining cycle of “alien voice – fear – hostile content.” The model integrates findings on the role of traumatic experience, individual differences in the thematic content of voices, and the sensory vividness of hallucinatory experiences. The proposed approach supports a continuum-based view of the boundary between norm and pathology and carries important clinical implications, particularly for psychotherapeutic interventions aimed at reducing fear and restoring a sense of authorship over internal experiences. (shrink)

One of the leading cognitive models of auditory verbal hallucinations (AVHs) proposes such experiences result from a disturbance in the process by which inner speech is attributed to the self. Research in this area has, however, proceeded in the absence of thorough cognitive and phenomenological investigations of the nature of inner speech, against which AVHs are implicitly or explicitly defined. In this paper we begin by introducing philosophical phenomenology and highlighting its relevance to AVHs, before briefly examining the evolving (...) literature on the relation between inner experiences and AVHs. We then argue for the need for philosophical phenomenology (Phenomenology) and the traditional empirical methods of psychology for studying inner experience (phenomenology) to mutually inform each other to provide a richer and more nuanced picture of both inner experience and AVHs than either could on its own. A critical examination is undertaken of the leading model of AVHs derived from phenomenological philosophy, the ipseity disturbance model. From this we suggest issues that future work in this vein will need to consider, and examine how interdisciplinary methodologies may contribute to advances in our understanding of AVHs. Detailed suggestions are made for the direction and methodology of future work into AVHs, which we suggest should be undertaken in a context where phenomenology and physiology are both necessary, but neither sufficient. (shrink)

To some it is a shallow platitude that inner speech always has an auditory-phonological component. To others, it is an empirical hypothesis with accumulating support. To yet others it is a false dogma. In this chapter, I defend the claim that inner speech always has an auditory-phonological component, confining the claim to adults with ordinary speech and hearing. It is one thing, I emphasize, to assert that inner speech often, or even typically, has an auditory-phonological component—quite another (...) to propose that it always does. When forced to argue for the stronger point, we stand to make a number of interesting discoveries about inner speech itself, and about our means for discriminating it from other psycholinguistic phenomena. Establishing the stronger conclusion also provides new leverage on debates concerning how we should conceive of, diagnose, and explain auditory verbal hallucinations and “inserted thoughts” in schizophrenia. (shrink)

The contribution of recent theories of sound and audition has been extremely significant for the development of a philosophy of auditory perception; however, none tackle the question of how our consciousness of auditory states arises. My goal is to show how consciousness about our auditory experience gets triggered. I examine a range of auditory mental phenomena to show how we are able to capture qualitative distinctions of auditory sensations. I argue that our consciousness of (...) class='Hi'>auditory states consists in having thoughts that organize our experience. Although my proposals could be adapted to fit with other theories of consciousness, here I expand David Rosenthal’s high-order-thought theory and his quality-space theory, and show their usefulness for analyzing our auditory experience. I use quality-space to account for pitch, timbre, loudness, and sound location. I further show that our high-order-thoughts capture qualitative aspects of our auditory sensations. I conclude by demonstrating how a hypothetical listener in possession of a refined vocabulary describes and reports her high-order-thoughts about her musical experience. (shrink)

Sensory substitution devices (SSDs) aim to compensate for the loss of a sensory modality, typically vision, by converting information from the lost modality into stimuli in a remaining modality. “The vOICe” is a visual-to-auditory SSD which encodes images taken by a camera worn by the user into “soundscapes” such that experienced users can extract information about their surroundings. Here we investigated how much detail was resolvable during the early induction stages by testing the acuity of blindfolded sighted, naïve vOICe (...) users. Initial performance was well above chance. Participants who took the test twice as a form of minimal training showed a marked improvement on the second test. Acuity was slightly but not significantly impaired when participants wore a camera and judged letter orientations “live”. A positive correlation was found between participants' musical training and their acuity. The relationship between auditory expertise via musical training and the lack of a relationship with visual imagery, suggests that early use of a SSD draws primarily on the mechanisms of the sensory modality being used rather than the one being substituted. If vision is lost, audition represents the sensory channel of highest bandwidth of those remaining. The level of acuity found here, and the fact it was achieved with very little experience in sensory substitution by naïve users is promising. (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)

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)

This work will be driven from an interdisciplinary inspiration. Multiple philosophical theories of sound perception and sound ontology that rely on considering sound as sound waves, events and environmental properties will be considered. We will try to show that these accounts cannot hold in face of the complexity of auditory experience. That will be done by resorting to a corpus of empirical literature that suggests that the experience of sound can be manipulated by visual components of experience. In the (...) last section we extend the previous considerations to the topic of artificial perception of sound and then we draw some speculative conclusions. (shrink)

Several theories propose that one of the core functions of inner speech (IS) is to support subjects in the completion of cognitively effortful tasks, especially those involving executive functions (EF). In this paper we focus on two populations who notoriously encounter difficulties in performing EF tasks, namely, people diagnosed with schizophrenia who experience auditory verbal hallucinations (Sz-AVH) and people within the Autism Spectrum Conditions (ASC). We focus on these two populations because they represent two different ways in which IS (...) can fail to help in EF tasks, which can be illustrative for other mental conditions. First, we review the main components of EF (Section 1). Then we explain the functions that IS is taken to perform in the domain of EF (Section 2) and review the evidence concerning problems about EF in the two populations of our study: Sz-AVH (Section 3) and ASC (Section 4). After this we further detail our account about what a properly functioning IS can do for both populations and how different IS profiles may impact EF performance: in the case of Sz-AVH, the uncontrolled and intrusive character of IS negatively affects EF performance, whereas in ASC, EF is not sufficiently supported by IS, given the tendency in this population to present a diminished use of IS (Section 5). We finally briefly discuss Attention Deficit/Hyperactivity Disorder (ADHD) and Developmental Language Disorders (DLD). (shrink)

This paper aimed to elucidate the various learning styles in statistics education at the college level in view of Fleming’s VARK model. The study surveyed 127 regular engineering students who took up statistics at Visayas State University, Baybay City, Leyte, Philippines, through a structured questionnaire using a Google form. The primary data collected were cross-sectional and summarized using standard descriptive metrics, Spearman correlation, and K-medians clustering. Results depicted that the students perceived themselves to be "often" visual (Median=3.75) learners. This is (...) followed by auditory (Median=3.25) and tactile (Median=3.00) learning styles, which are both "sometimes" applied by students. Correlation analysis revealed that the visual, auditory, and tactile learning styles of students are positively and moderately correlated, which is statistically significant at a 1% level. Moreover, the K-medians clustering revealed that 31.49% (Cluster I) of the students often applied visual learning and sometimes employed auditory and tactile styles, about 28.35% (Cluster II) often applied visual and auditory learning while tactile is sometimes employed, and approximately 40.16% (Cluster III) of them sometimes applied the three learning styles. Conclusively, students have statistically different learning styles, and the study suggests that instructors/professors must adapt teaching modalities that cater to the needs of diverse learners in statistics courses. (shrink)

Given their salience in many sports and physical cultures, it is surprising that the practices, processes and production of intercorporeality and ‘doing together’ remain under-explored from a sociological perspective. The ongoing achievement of ‘togethering’ can be particularly important for the embodied partnership between a visually impaired (VI) runner and a sighted guide (SG) runner: a specific sporting dyad whose experiences are currently under-researched. To address this lacuna and contribute original insights to sensory sociological studies, here we explore the accomplishment of (...) running-together by VI runners and sighted guides, focusing on the auditory dimension. To illustrate how these runners put the sense of hearing ‘to work’ in achieving finely attuned intercorporeality, often at considerable speed, we draw on qualitative data from a research project on VI running in the UK, involving five VI runners and five SGs. Here, we focus on auditory attunement in two domains identified as highly salient in the running-partners’ intercorporeal experiences: (1) Listening out – auditory attention to non-linguistic sounds; and (2) Tuning in – the importance of attending to team-talk between VI runners and SG runners. (shrink)

It is generally acknowledged that verbal auditory imagery, the reader's sense of hearing the words on a page, matters in the silent reading of poetry. Verbal auditory imagery (VAI) in the silent reading of narrative prose, on the other hand, is mostly neglected by literary and other theorists. This is a first attempt to provide a systematic theoretical account of the felt qualities and underlying cognitive mechanics of narrative VAI, drawing on convergent evidence from the experimental cognitive sciences, (...) psycholinguistic theory, and introspection. The central argument is that distinctions within the domain of embodied VAI also apply to higher-order meaning-making. That is, based on the imaginer's level of self-implication in their production, discrete types of VAI are associated with discrete tendencies in spontaneous literary interpretation. More generally, the aim of this paper is to isolate a new set of embodied experiences which, along with previously researched phenomena such as sensorimotor enactment or emotion, contribute to our understanding of literary narrative. (shrink)

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)

A common but overlooked form of explanation in psychiatry is what I label ‘empathetic explanation’. Empathetic explanations invoke empathetic variables, which, in addition to providing an explanation of the target phenomenon, also afford an empathetic understanding of it. Focusing on the case of auditory verbal hallucination (AVH), I argue that empathetic explanation fails to provide an adequate account of the phenomenon, perniciously shapes empirical research, and confuses empathetic understanding with scientific understanding. I close by providing a general condition on (...) the legitimate application of empathetic explanation. (shrink)

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

Traditional views concerning musical meaning, in the field of philosophy, quite often oscillate around the discussion of whether music can transfer meaning (and if so if it happens by a means similar to language). Philosophers have provided a wide range of views – according to some, music has no meaning whatsoever, or if there is any meaning involved, it is only of a formal/structural significance. According to the opposing views, music can contain meaning similarly to language and what is more, (...) sometimes it can be even richer than language, as in music we are – arguably – able to encode “emotional meanings”. In recent years, several approaches – also speculative – to the old philosophical question have been proposed by evolutionary psychologists, one of the most controversial views being that of Stephen Pinker’s famous metaphor for music as “auditory cheesecake”. This anti-adaptationist view has been challenged f. ex. by Geoffrey Miller or Ian Cross. In this chapter, I enlist some main philosophical views on the titular problem and investigate some evolutionary-paradigm-based propositions for its solution, to examine whether – both from explanatory and methodological standpoints – the philosophy of music could gain something from recent developments in evolutionary psychology. (shrink)

Background -/- Previous literature suggests that those with reading disability (RD) have more pronounced deficits during semantic processing in reading as compared to listening comprehension. This discrepancy has been supported by recent neuroimaging studies showing abnormal activity in RD during semantic processing in the visual but not in the auditory modality. Whether effective connectivity between brain regions in RD could also show this pattern of discrepancy has not been investigated. Methodology/Principal Findings -/- Children (8- to 14-year-olds) were given a (...) semantic task in the visual and auditory modality that required an association judgment as to whether two sequentially presented words were associated. Effective connectivity was investigated using Dynamic Causal Modeling (DCM) on functional magnetic resonance imaging (fMRI) data. Bayesian Model Selection (BMS) was used separately for each modality to find a winning family of DCM models separately for typically developing (TD) and RD children. BMS yielded the same winning family with modulatory effects on bottom-up connections from the input regions to middle temporal gyrus (MTG) and inferior frontal gyrus(IFG) with inconclusive evidence regarding top-down modulations. Bayesian Model Averaging (BMA) was thus conducted across models in this winning family and compared across groups. The bottom-up effect from the fusiform gyrus (FG) to MTG rather than the top-down effect from IFG to MTG was stronger in TD compared to RD for the visual modality. The stronger bottom-up influence in TD was only evident for related word pairs but not for unrelated pairs. No group differences were noted in the auditory modality. Conclusions/Significance -/- This study revealed a modality-specific deficit for children with RD in bottom-up effective connectivity from orthographic to semantic processing regions. There were no group differences in connectivity from frontal regions, suggesting that the core deficit in RD is not in top-down modulation. (shrink)

We respond to Moseley and Wilkinson's defense of inner speech models of AVH.

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

This article argues that language must be distinguished from the symbol systems through which it is represented, revealing that auditory and visual systems produce fundamentally distinct cognitive organizations of meaning. Auditory languages are structured by the temporal flow of sound, whereas visual symbol systems—functioning as independent mechanisms rather than extensions of speech—emerge from the spatial configuration of the trace. This framework clarifies why contemporary AI systems, grounded in an auditory-sequential architecture, perform a structural flattening of visual-semantic languages.

This chapter explores to what extent some core ideas of predictive processing can be applied to the phenomenology of time consciousness. The focus is on the experienced continuity of consciously perceived, temporally extended phenomena (such as enduring processes and successions of events). The main claim is that the hierarchy of representations posited by hierarchical predictive processing models can contribute to a deepened understanding of the continuity of consciousness. Computationally, such models show that sequences of events can be represented as states (...) of a hierarchy of dynamical systems. Phenomenologically, they suggest a more fine-grained analysis of the perceptual contents of the specious present, in terms of a hierarchy of temporal wholes. Visual perception of static scenes not only contains perceived objects and regions but also spatial gist; similarly, auditory perception of temporal sequences, such as melodies, involves not only perceiving individual notes but also slightly more abstract features (temporal gist), which have longer temporal durations (e.g., emotional character or rhythm). Further investigations into these elusive contents of conscious perception may be facilitated by findings regarding its neural underpinnings. Predictive processing models suggest that sensorimotor areas may influence these contents. (shrink)

This paper provides a philosophical analysis of striking results in the science of self-talk. Subtle grammatical variations in the way we address ourselves in our inner voice—using the first-person pronoun 'I' versus the second-person pronoun 'You' or one’s own name—has distinct effects on motivation, emotion regulation, and performance, even when the content of the proposition entertained remains the same. According to the dominant explanation, indirect self-talk involves a shift in perspective that enhances psychological self-distance. In this paper, I argue that (...) appealing to psychological distance in this context is both obscure and unexplanatory. Instead, I propose a more direct account of the effects, drawing on the Prima Facie View of perceptual imagination. I argue that the differential efficacy of indirect self-talk stems from the implicit assertoric force of auditory imagery: when we address ourselves in the second or third person, we have the prima facie impression that someone else is making a claim about us. This account builds on the cognitive architecture of imagery processing and explains the effect as arising from associative responses to grammatical structures typically used by others when addressing us. (shrink)

Many philosophers and psychologists have sought to explain experiences of auditory verbal hallucinations and “inserted thoughts” in schizophrenia in terms of a failure on the part of patients to appropriately monitor their own inner speech. These self-monitoring accounts have recently been challenged by some who argue that AVHs are better explained in terms of the spontaneous activation of auditory-verbal representations. This paper defends two kinds of self-monitoring approach against the spontaneous activation account. The defense requires first making some (...) important clarifications concerning what is at issue in the dispute between the two forms of theory. A popular but problematic self-monitoring theory is then contrasted with two more plausible conceptions of what the relevant self-monitoring deficits involve. The first appeals to deficits in the neural mechanisms that normally filter or attenuate sensory signals that are the result of one’s own actions. The second, less familiar, form of self-monitoring approach draws an important analogy between Wernicke’s aphasia and AVHs in schizophrenia. This style of self-monitoring theory pursues possible connections among AVHs, inserted thoughts, and the disorganized speech characteristic formal thought disorder. (shrink)

The perceptual experience of music involves several temporal properties and relations: the succession of tones, the duration of each tone, the interval between tones, the repetition of tones or phrases, and possibly more. Among these temporal properties and relations, philosophers often prioritise the succession of tones when explaining auditory experience, overlooking the role of other temporal properties and relations. In this paper, I critically examine this widespread view regarding Ian Phillips’ Non Standard Memory approach and Wanja Wiese’s Hierarchical Trajectory (...) Estimation Model, corresponding to two branches of the specious present theory, extensionalism and retentionalism. Particularly, I highlight the limitations of these succession-based approaches in adequately characterising the experience of time in audition. (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)

Inner speech travels under many aliases: the inner voice, verbal thought, thinking in words, internal verbalization, “talking in your head,” the “little voice in the head,” and so on. It is both a familiar element of first-person experience and a psychological phenomenon whose complex cognitive components and distributed neural bases are increasingly well understood. There is evidence that inner speech plays a variety of cognitive roles, from enabling abstract thought, to supporting metacognition, memory, and executive function. One active area of (...) controversy concerns the relation of inner speech to auditory verbal hallucinations in schizophrenia, with a common proposal being that sufferers of AVH misidentify their own inner speech as being generated by someone else. Recently, researchers have used artificial intelligence to translate the neural and neuromuscular signatures of inner speech into corresponding outer speech signals, laying the groundwork for a variety of new applications and interventions. (shrink)

The literature is predominated by studies seeking to clarify the extent of the availability, functionality, accessibility and/or utilisation of library materials in schools at various levels. The extent of principals' management of library resources and their contribution to the lesson preparation activities of teachers seems to have been under-researched. In bridging the gap, the current study was designed to assess the extent and contribution of principals’ management of library resources to teachers’ lesson preparation practices. Six specific objectives were of interest (...) to the researchers. The quantitative research method, following the ex-post facto research design, was adopted. The stratified proportional random sampling technique was used to choose a sample of 743 respondents from a population of 1,857 secondary school teachers in Ikom Education Zone, Cross River State, Nigeria. An instrument named "Management of Library Resources and Teachers' Lesson Preparation Questionnaire" (MLRTLPQ) was used to gather data. The quantitative content validity method was used to assess the degree to which the items in the instrument were clear, relevant, and represented a wide range of the anticipated content based on the views of domain experts. One sample t-test and hierarchical regression analyses were used for data analyses. Four stepwise hierarchical linear models were specified and fitted accordingly. It was found that teachers’ lesson preparation practice is significantly low generally; there is a significantly low extent in principals’ management of textual, auditory, visual and audio-visual library resources; there is a significant composite contribution of principals’ management of library resources on teachers’ lesson preparation practices in public secondary schools in model 3 and model 4. Based on these findings, practical implications are discussed, with recommendations made for a better library management practice in secondary schools for quality lesson preparation practices. (shrink)

Philosophical discussions on cognition (ranging from computational and representational approaches to the 4E fra-mework), on the one hand, and those on sound and auditory per-ception, on the other, have hitherto remained apart. In this paper, the author addresses the concept of “auditory cognition”. While committing to the conceptual analysis of the latter, the author in-troduces the discussion of modality-specif ic approaches. Since the contributions made so far in the domain of the philosophy of sound and auditory perception (...) are prone to favor computational-repre-sentational approaches —e.g., the perceptual coherence model (Méndez-Martínez, 2022)—, the exploration of 4E possibilities will lay down a series of questions aimed to encourage future developers from that viewpoint. In that sense, the author explores conceptual entailments and connections between the genealogy of theories within the philosophy of sound and auditory perception, and the hypothesis of the extended cognition (EX). (shrink)

The idea of a common currency underlying our choice behaviour has played an important role in sciences of behaviour, from neurobiology to psychology and economics. However, while it has been mainly investigated in terms of values, with a common scale on which goods would be evaluated and compared, the question of a common scale for subjective probabilities and confidence in particular has received only little empirical investigation so far. The present study extends previous work addressing this question, by showing that (...) confidence can be compared across visual and auditory decisions, with the same precision as for the comparison of two trials within the same task. We discuss the possibility that confidence could serve as a common currency when describing our choices to ourselves and to others. others. (shrink)

A vexed claim in the philosophy of poetry is the form-content unity thesis, which states that the formal features of a poem (e.g., meter and rhyme) and its meaning are inseparable. In this paper, I interpret this thesis as a descriptive claim stating that form and content in poetry are experienced as indissolubly connected while reading silently. My view is that the unity of the experience of form and content can be explained by highlighting the role of inner speech (i.e., (...) the mental production of one’s voice) in the phenomenology of reading poetry. The content of the inner voice is heard as having an auditory aspect and a cognitive one, which are indissolubly connected in the phenomenology: they cannot be experienced in isolation from each other (e.g., by attending to a single aspect). This interpretation explains why form-content unity is revelatory of the specific aesthetic value of poetry: it individuates poetry as the art that produces sonic and semantic effects in a unitary way, through the phenomenology of inner speech. Unity captures the specificity of poetry, since comparable sonic and semantic effects are found in other arts (e.g., music and novels). (shrink)

This paper deals with the world before language. It divides two states using “Pre-symbolic” and “Meaning-Constructed.” Pre-symbolic: symbols, images, and sounds before humans assign meaning. Meaning-Constructed: the world after meaning appears. The system is further divided into the “Visual Manifold” and the “Auditory Manifold.” This paper also introduces “Restricted-Sense Consensus” and “Extended-Sense Consensus”: Restricted-Sense Consensus: subjects of the same species exchange, teach, and communicate using their own Meaning-Constructed States. Extended-Sense Consensus: different civilizations and different species construct their own Meaning-Constructed (...) States after interpreting their own Pre-symbolic States. These six categories form the core theory of the book the author is currently writing, The Possibility of Understanding Symbols. The main analysis concerns the framework by which humans move from symbols (Pre-symbolic) to meaning (Meaning-Constructed). (shrink)

Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view (...) of anthropology and ethnomusicology. (shrink)

This chapter distinguishes between two kinds of ordinary multisensory experience that go beyond mere co-consciousness of features (e.g., the experience that results from concurrently hearing a sound in the hallway and seeing the cup on the table). In one case, a sensory experience in one modality creates a perceptual demonstrative to whose referent qualities are attributed in another sensory modality. For example, when you hear someone speak, auditory experience attributes audible qualities to a seen event, a person’s speaking motions. (...) The second kind of multisensory experience attributes features experienced in several sensory modalities to one and the same object via a process of amodal perceptual integration, i.e., integration that occurs separately from processing within the individual sensory modalities. Multisensory experiences arising from holding and seeing a tomato or from seeing the Indian curry boil and smelling it are examples of the second kind of multisensory experience. At the end of the chapter we look at synesthesia, a kind of atypical multisensory experience, and argue that one version of this phenomenon may be able to shed light on the neural mechanism underlying amodally integrated multisensory experience. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement (...) with musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (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)

This study assesses the student learning styles and academic performance in modular learning among Grade IV, V, and VI learners of Hindang Central School. This considered the learning styles and academic performance of the respondents in modular learning. A total of 252 learners from Hindang Central School participated as respondents in the evaluative method of research that consists of two parts questionnaires. This study used a modified survey questionnaire from the University of California at Merced, Student Advising and Learning Center (...) to gather the data of the respondents. As to the significance of learning styles and academic performances of the respondents in modular learning, Analysis of Variance (ANOVA) was used to analyze the significant differences. The study's findings indicated that auditory learning was the respondents' preferred method of learning. This learning style is best through speaking or listening. Moreover, auditory learners prevail dominantly amidst the health crisis faced. The respondents' academic achievement in the academic year 2020–2021 was also revealed to be Very Satisfactory. According to the Analysis of Variance (ANOVA), there was no apparent connection between learning preferences and academic achievement in the new typical education. Therefore, there was no relation or correlation between the two variables. (shrink)

This document sets out a theoretical framework — not a finding — for a proposed approach in which a person's own deeply meaningful music serves as the substrate for an intervention intended to extend the positive affective state that music evokes beyond the listening session itself. The framework is pre-empirical: hypotheses are stated to be falsifiable, mechanisms are ranked by evidence, and the weakest assumptions are named rather than concealed. -/- This third edition makes a structural revision. Across two prior (...) editions, every mechanism the framework borrowed from physics has failed under examination while the intuition beneath it survived relocation into a different register. The edition therefore moves the framework's load-bearing weight out of the physics register (resonance, entrainment, synchronization) and into the psychological one (music-evoked autobiographical memory, trait absorption, default-mode-network dynamics, self-transcendent experience), where validated instruments and a real literature exist. It engages the 1983 US Army/CIA assessment of the Gateway Process as a candid historical case study in what happens when that relocation is refused, and it retires auditory entrainment from a driving mechanism to a hypothesis the author expects to fail. It resolves a genuine contradiction between the framework's own engine (autobiographical memory, which requires the default mode network engaged) and its experiential target (self-transcendence, which requires that network quiet) by proposing a falsifiable two-phase model in which the transition between them, rather than either state, is what persists. A further hypothesis would test, with music as the intervention, whether interhemispheric connectivity is cause or correlate of felt wholeness. No clinical claims are made or implied. (shrink)

This monograph presents an epistemological evaluation of single-neuron neurophysiology, framing the experimental practice of micro-electrode tracking as a disciplined methodological "descent" through distinct perceptual and interpretive registers (pp. 4, 11, 37). The author argues that knowledge of neural phenomena is irreducibly relational and translational rather than an unmediated apprehension of reality (pp. 37, 39). By deliberately attenuating conventional visual dominance through a scientific via negativa—operating in dark rooms and translating voltage fluctuations into distinctive acoustic signatures—the neurophysiologist establishes a rudimentary "experimental (...) dialogue" or "conversation" with an isolated unit (pp. 4, 12, 24, 40).The text traces this inquiry across five analytical levels: auditory tracking, Fourier spectral mapping, functional sensory stimulation, histochemical morphological visualization (via horseradish peroxidase), and mid-twentieth-century biophysical ion-channel mechanisms (pp. 6, 17, 27, 31). Philosophically, the book challenges top-heavy emergentist views in the philosophy of mind by demonstrating that selective integration, history-dependence (habituation/sensitization), and context-sensitivity occur natively within the spatial and temporal architecture of individual single cells (pp. 23, 38). Ultimately, the work offers a novel account of distributed, partial, and finite scientific discovery, treating the single neuron not as a passive transducer of physical energy but as a dynamically active participant in the generation of empirical knowledge (pp. 22, 24, 41). (shrink)

In the philosophy of auditory experience, it is commonly accepted that hearing sounds and their sources are related perceptual occurrences. The paper evaluates three widespread accounts of such a relationship, according to which sounds are respectively auditorily experienced as properties of their sources, parts of their sources, or caused by their sources. These approaches are found inadequate, insofar as they are unable to capture the specific perceptual dependencies that characterize our auditory experiences of sounds and their sources. It (...) is argued that we can accommodate these dependencies by accepting that sources are perceived in virtue of an operation of perceptual categorization applied to the sounds we hear. Finally, this proposal is defended from the common objection that it cannot accommodate the cognitive role played by our auditory experience of sound sources. (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.

Do conscious experiences have continuous or discrete structures? Let a smooth experience be an experience with perfectly gradual variation in phenomenal character. Consider, as examples, your visual experience of a blue sky or your auditory experience of a rising pitch. If we appeal merely to introspection, then it may seem that we should think that smooth experiences are continuous. This paper (1) explains how to apply the mathematical definitions of continuity and discreteness to this philosophical question, and (2) develops (...) a discrete analysis of the phenomenal characters of smooth experiences. As a result, I'll argue that introspection leaves open whether smooth experiences are continuous or discrete. Yet I’ll also argue—perhaps surprisingly—that the discrete theory may better fit our introspective evidence. Along the way, I explain why the sense of ‘continuity’ ascribed to smooth experiences is distinct from the sense of ‘continuity’ ascribed to the stream of consciousness. (shrink)