Introduction: The limits of poetics -- For the first time -- The naming power of the word -- Heidegger's figures -- Reading Heidegger reading -- Conclusion: A poetics of limit?.

This article examines intentionality and habit formation in musical experience through Deleuzian and Peircean semiotic frameworks. Through analysis of experimental music practices, particularly extreme metal and jazz, we investigate how these philosophical perspectives illuminate contemporary musical phenomena. The study begins with an analysis of Deleuze’s critique of phenomenological intentionality and his theory of temporal synthesis at the pre-individual level. This framework is then applied to the musical subgenre of thall to demonstrate processes of differentiation and actualization. The investigation proceeds to (...) Peirce’s semeiotic approach to intentionality, focusing on habit formation and the quasimind in relation to musical practice. Analysis of jazz improvisation and practice routines demonstrates the explanatory power of Peircean habit acquisition theory for understanding musical skill development. The study concludes by identifying theoretical convergences and divergences between Deleuze and Peirce, particularly regarding teleology and processual becoming. This comparative analysis reveals how both philosophical approaches transcend traditional subject–object dichotomies while maintaining distinct positions on teleological aspects of experiential and experimental processes. (shrink)

This chapter offers an individuated perspective on the voice and the body, exploring how the voice emerged in the condition of a scientific bifurcation. It is intended as an approachable introduction to the infrastructures of audibility and the imaginary organ. Moving away from the human voice as a discourse, the chapter explores the media materiality of the early voice sciences, with particular attention devoted to the invention of the laryngoscope in the nineteenth century as a form of embodied epistemic visualization (...) of a body’s infrastructure of audibility. (shrink)

ABSTRACTWhile the sonic logo for McDonald’s i’m lovin’ it campaign has been widely distributed and highly praised, little is known about the actual characteristics and meaning potentials of this pa...

Because the marketable products of Hip Hop have become nearly synonymous in the popular and scholarly imagination with Black expression and resistance, this chapter offers a close reading of Justin Adams Burton’s Posthuman Rap, in order to reveal the distorting and potentially dangerous consequences this erasure of the culture’s history has had on how Blackness is academically theorized in the postmodern age. Contextualizing Burton’s work in the historical reception of Hip Hop by the white gaze—within academia as well as popular (...) culture—it argues that the purportedly ‘subversive’ account of Blackness affirmed through postmodernism’s reactionary framework imposes an exoticizing, one-dimensional, and nihilistic caricature onto the diverse, vibrant, and struggling communities within which the culture has sown its deepest roots. (shrink)

"There is no purely and rigorously phonetic writing,"2 proclaims Jacques Derrida as he coins the term différance. The a in différance is not audible; the difference is purely graphic, and when expressed orally the hearer understands différence whether it is written with an e or an a. But Derrida is working in French, and while it is clear that French is not purely and rigorously phonetic in its writing, this does not necessarily hold for other languages or linguistic scripts, nor (...) does the silence of différance necessarily survive translation. Moreover, especially if one considers Derrida's more generalized definition of "writing"—not only as marks on a surface, but as a sign system—then a natural counter-example of... (shrink)

The degradation of natural environments has an enormous impact on human health, which is further specified in the transdisciplinary research paradigm of planetary health. Bioethical debates have so far predominantly discussed ecological tradeoffs in clinical decision-making, whereas the intersection of research ethics and planetary health remains rather unexplored. Relevant codices to date tend to reduce environmental issues to emissions directly caused by research activities. This article introduces the concept of planetary health research ethics that better accounts for the many-faceted dimensions (...) that emerge. After making some theoretical underpinnings of research ethics explicit, the article discusses health research as a threat to the environment and evidence for a greener health-care practice as two fields of mitigation. In terms of adaptation, research addressing environmental impacts on diseases is then analyzed in its ethical dimension. The article closes with concrete suggestions for research ethics assessment considering the complexity of planetary health. (shrink)

The article reveals the problems of listening comprehension in a foreign-language audience, in particular, by students who are non-native speakers. The theoretical part is a brief characteristic of listening as a type of speech activity: the content of the term, its internal components – the psychophysiological mechanisms involved, the difficulties associated with them. In the practical part the authors of the article demonstrate exercises from the purposefully developed lesson on the removal of difficulties in the perception of sounding speech (...) in non-native speakers children of middle school age, consisting in the systematic development of mechanisms of listening comprehension. Based on the analysis of the experimental lesson, solutions for systematic and consistent work in the classes within the additional remedial course in the Russian language in order to prevent errors and difficulties, as well as to facilitate the process of listening comprehension are proposed. (shrink)

According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable the perception of emotion, (...) but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

... ISBN0199215928 ... -/- Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical (...) view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned. -/- . (shrink)

In classical Chinese wu 吾 is commonly employed as the first-person pronoun, similar to wo 我 that retains its use in modern Chinese. Although these two words are usually understood as stylistic variants of “I,” “me,” and “myself,” Chinese scholars of the Zhuangzi 莊子 have long been aware of the possible differences in their semantics, especially in the philosophical context of discussing the relation between the self and the person, as evinced by their occurrences in the much-discussed line “Now I (...) have lost myself” in the chapter “Discussion on Making All Things Equal”. In this essay, I first provide an exegesis of the proffered explanations of the semantical differences between wu and wo as an introduction to two ways of understanding them in the Zhuangzi literature, viz. the single-reference view and the double-reference view. Then I shall argue against these two views in favor of the no-reference view, meaning that both pronouns in “Now I have lost myself” do not function referentially, given the peculiarity of the verb “lose.” I believe the no-reference view has not been explicitly articulated and defended in the literature, although some scholars who want to read the no-self view into the Zhuangzi might have implied it. My argument is supported by a close reading of the targeted passage in the Zhuangzi, premised on the assumption that the part on the “piping of Heaven” immediately following the discussion of losing oneself is an indirect explanation rather than a digression. My explanation is framed within a similar discussion of “I” by the British philosopher Elizabeth Anscombe. This comparative interpretation, I believe, not only provides the grounds for understanding Zhuangzi’s ideal of attaining the state where “the ten thousand things are one with me,” but also demonstrates how metaphysics and the philosophy of language are two interwoven threads in Zhuangzi’s reasoning. (shrink)

The ships landed long ago: they already laid waste whole societies, abducted and genetically altered swathes of citizenry, imposed without surcease their values. Africa and America—and so by extension Europe and Asia—are already in their various ways Alien Nation. No return to normal is possible: what ‘normal’ is there to return to? Part of the story of black music (the affirmative, soul-gospel aspect) has always been this—that losing everything except basic dignity and decency is potentially a survivable disaster. The other (...) part—as told so obliquely by Ra, Coltrane, Braxton, Delany, Ishmael Reed, and doubtless many others less easily seen than this—is that staying true to the best in yourself may mean when everything can so cunningly imitate everything else, talking in dark, crazed, visionary tongues for a season. Mark Sinker, “Loving the Alien,” 33. (shrink)

Sound symbolism refers to non-arbitrary associations between word forms and meaning, such as those observed for some properties of sounds and size or shape. Recent evidence suggests that these connections extend to emotional concepts. Here we investigated two types of non-arbitrary relationships. Study 1 examined whether iconicity scores (i.e. resemblance-based mapping between aspects of a word’s form and its meaning) for words can be predicted from ratings in the affective dimensions of valence and arousal and/or the discrete emotions of happiness, (...) anger, fear, disgust and sadness. Words denoting negative concepts were more likely to have more iconic word forms. Study 2 explored whether statistical regularities in single phonemes (i.e. systematicity) predicted ratings in affective dimensions and/or discrete emotions. Voiceless (/p/, /t/) and voiced plosives (/b/, /d/, /g/) were related to high arousing words, whereas high arousing negative words tended to include fricatives (/s/, /z/). Hissing consonants were also more likely to occur in words denoting all negative discrete emotions. Additionally, words conveying certain discrete emotions included specific phonemes. Overall, our data suggest that emotional features might explain variations in iconicity and provide new insight about phonemic patterns showing sound symbolic associations with the affective properties of words. (shrink)

Soundness Arguments for the consistency of a (mathematical) theory S aim to show that S is consistent by first showing or employing the fact that S is sound, i.e., that all theorems of S are true. Although soundness arguments are virtually unanimously accepted as valid and sound for most of our accepted theories, philosophers disagree about their epistemic value, i.e., about whether such arguments can be employed to improve our epistemic situation concerning questions of consistency. This article provides a (partial) (...) negative answer to this question and argues that soundness arguments cannot be employed to justify their conclusion. Additionally, soundness arguments are unconvincing; they cannot be employed to overcome reasonable open-mindedness about their conclusion. (shrink)

In ‘The Ockhamization of the event sources of sound’ (2013), Roberto Casati, Elvira Di Bona, and Jérôme Dokic argue that ‘ockhamizing’ Casey O’Callaghan’s account of sounds as proper parts of their event sources yields their preferred view: that sounds are identical with their event sources. This article argues that the considerations Casati et al. marshal in favor of their view are actually stronger considerations in favor of a quite different view: a variant on the Lockean conception of sounds as ‘sensible (...) qualities’ that treats sounds as audible properties of their event sources. (shrink)

Hearing, Sound, and the Auditory in Ancient Greece represents the first comprehensive study of the role of sound and hearing in the ancient Greek world. While our modern western culture is almost an entirely visual one, hearing and sound were central to ancient Greeks. The fifteen chapters of this edited volume explore "hearing" as being philosophically significant across numerous texts and figures in ancient Greek philosophy. Through close analysis of the philosophy of such figures as Heraclitus, Sophocles, Plato, Socrates, and (...) Aristotle, Hearing, Sound, and Auditory in Ancient Greece presents new and unique research from philosophers and classicists that aims to redirect us to the ways in which sound, hearing, music, listening, voice, and even silence shaped and reflected the worldview of ancient Greece. (shrink)

We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) (...) followed by decreases (after 8 or 32 exposures). The results documented that: (1) sad music is liked as much as happy music in some instances; (2) frequency of exposure causes both familiarity (positive) and over-familiarity (negative) effects; and (3) effects of exposure on liking differ for focused and incidental listening. (shrink)

Speech sounds can communicate perceptual information through iconicity, or shared resemblance between sound and meaning. Prosody, which encompasses vocal characteristics such as pitch and intensity, can similarly be recruited to communicate meaning by evoking physical features of a referent. This study used English‐like pseudowords to investigate whether iconicity between word form and object properties would affect pronunciation, with the prediction that congruent mappings between label and referent would elicit similarly iconic prosodic modulation. Experiment 1 used size‐sound iconicity to establish perceptual (...) mappings. Participants were presented with three animal figures of varying sizes, small, medium, and big, and asked to assign a label to one of them. The labels were pseudowords designed to be small‐sounding, ambiguous with respect to size, or big‐sounding. We found that small‐sounding pseudowords were more likely to be matched to small referents, and big‐sounding pseudowords to big referents. Participants exhibited no preference when naming medium‐sized animals. Experiment 2 assessed how iconic mappings between labels and referents influenced vocal production. Participants were shown three animals of differing sizes along with a label that was preassigned to a particular referent. Participants were then asked to pronounce aloud the target pseudoword, and responses were recorded. Although the relationship between label and referent did not significantly predict the acoustic form of vocal productions, participants instead produced prosody that reflected the size evoked by the pseudowords themselves, suggesting that not only are language users sensitive to sound to size iconicity in spoken language, but that sensitivity modulates speech production. (shrink)

A variety of different proposals have been made about the nature of sounds. Although these proposals differ in a number of significant respects, some common assumptions appear to be made by their advocates: (1) the assumption that sounds possess audible, acoustic features, such as timbre, pitch, and loudness (and so the assumption that a sound is not a property that is identical to any one of those audible features); and (2) the assumption that sounds are one kind of thing. The (...) second assumption is rarely defended in debates about sound and auditory perception. This chapter explores ways in which such debates are affected if the relevant assumption is rejected. (shrink)

A discussion of the topics of curation, geography, and material production in the context of sound studies and the sonic world.

This chapter argues for the view of sounds as secondary objects — that is, objects that are defined phenomenologically, in terms of their audible properties. Sounds are compared with smells, rainbows, and other secondary objects in order to show that there is a genuine and philosophically interesting class of such objects, and that it is possible to ascribe objective reality to them and to avoid private-language problems in describing them. It is also suggested that sounds are to be considered as (...) events, and that this means that their individuation is essentially problematic. (shrink)

In this fascinating collection of essays, an international group of scholars explores the sonic consequences of transcultural contact in the early modern period. They examine how cultural configurations of sound impacted communication, comprehension, and the categorisation of people. Addressing questions of identity, difference, sound, and subjectivity in global early modernity, these authors share the conviction that the body itself is the most intimate of contact zones, and that the culturally contingent systems by which sounds made sense could be foreign to (...) early modern listeners and to present day scholars. Drawing on a global range of archival evidence--from New France and New Spain, to the slave ships of the Middle Passage, to China, Europe, and the Mediterranean court environment--this collection challenges the privileged position of European acoustical practices within the discipline of global-historical musicology. The discussion of Black and non-European experiences demonstrates how the production of 'the canon' in the cosmopolitan centres of colonial empires was underpinned by processes of human exploitation and extraction of resources. As such, this text is a timely response to calls within the discipline to decolonise music history and to contextualise the canonical works of the European past. This volume is accessible to a wide and interdisciplinary audience, not only within musicology, but also to those interested in early modern global history, sound studies, race, and slavery."--Publisher's website. (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)

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)

Italian Sounding—i. e., the Italian appearance of a product or service brand irrespective of its country of origin—represents a global market phenomenon affecting a wide range of economic sectors, particularly the agro-food sector. Although its economic impact has been repeatedly stressed from different points of view, systematic scientific knowledge regarding its social–psychological bases is lacking. Three studies carried out in three different countries address this literature gap. Different consumer groups are targeted regarding major product categories pre-selected categories, which are (...) the major Italian food goods within the specific country according to piloting. In each study, the main independent variable has been manipulated by presenting real product images, whose “Italianness” degree is effectively manipulated by the main study variable across three or four levels. Main hypotheses are tested via a survey with the specific product images administered to samples in Italy, China, and the USA. Across the three studies, results show that Made in Italy products, compared to the other ones, are advantaged in terms of the main dependent variables: reputation profile, general reputation, attitude, and willingness to pay. Moreover, Italian Sounding products are endowed with corresponding significant advantages when compared to the Generic Foreign by non-Italian samples. Results reveal the specific social–psychological profile of Italian Sounding products in terms of either weaknesses or strengths when compared to both Made in Italy products and Generic Foreign ones, differently in the eyes of Italian and non-Italian consumers across different countries. Finally, consistently across the three studies, the extent to which a food product is perceived to be Italian increases consumers' WTP for that product, and this effect is consistently mediated by the product's reputation. (shrink)

A brief review of Peter Kivy's collection of eleven essays on Philosophy of Music.