Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

The 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)

Wittgenstein is apparently contending that it is simply linguistic habit that gives us the impression that the question “who or what…?” fits the subject expression of the sentence. The logical conclusions in this chapter show that the strong reading of the proposed thesis developed here of a purely sound‐oriented character of the grammar of a single language (in this case, English) cannot be entirely right, and might not even be what Wittgenstein intended, because he only spoke of the (...) class='Hi'>sound as one characteristic of the concept of a sentence. The author seeks a twofold understanding of the grammatical: on the one hand it should grasp sentences as whole units (not aggregates of the “singing from the score” type); on the other hand it should help us better understand the motivation for Wittgenstein's thesis that the grammatical concept of a sentence is oriented by (among other things) sound. (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 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)

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)

In this work we present some reflections about the interaction of preschool children (between 3 and 5 years old) with sound-producing objects. We implemented the phenomenological approach of Alfred Schutz, who under the influence of Edmund Husserl, elaborated his own notions concerning the Lebenswelt or life-world. We present some situations of interaction with musical instruments by children that have been documented in different research on musical education in early childhood, the same ones we use to exemplify possible analyses from (...) the perspective of the phenomenology of the social world. We conclude with some remarks that conceive of Schutz’s theory as a relevant perspective for the analysis of children’s experiences with sound-producing objects. (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)

Sounds and Perception brings together original essays on auditory perception and the nature of sounds - an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. The (...) collection serves both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. (shrink)

I argue that sounds are best conceived not as pressure waves that travel through a medium, nor as physical properties of the objects ordinarily thought to be the sources of sounds, but rather as events of a certain kind. Sounds are particular events in which a surrounding medium is disturbed or set into wavelike motion by the activities of a body or interacting bodies. This Event View of sounds provides for a uni- ?ed perceptual account of several pervasive sound (...) phenomena, including transmission through barriers, constructive and destructive interference, and echoes. (shrink)

What does it mean for emotion to be well-constituted? What distinguishes good feeling from (just) feeling good? Is there such a distinction at all? The answer to these questions becomes clearer if we realize that for an emotion to be all it seems, it must be responsible as well as responsive to what it is about. It may be that good feeling depends on feeling truly if we are to be really moved, moved in the way that avoids the need (...) for constant, fretful replenishment and reinforcement. To be sound, emotions may need to be capable of genuineness, depth, and other kinds of integrity. And that, in turn, may require certain virtues of mind, such as truthfulness, temperateness, and even courage, that are more familiar at the level of action. The governing aim of this book is to demonstrate that there can be problems of a structural kind with the adequacy of emotions and the emotional life. (shrink)

Sound-symbolism is the nonarbitrary link between the sound and meaning of a word. Japanese-speaking children performed better in a verb generalization task when they were taught novel sound-symbolic verbs, created based on existing Japanese sound-symbolic words, than novel nonsound-symbolic verbs (Imai, Kita, Nagumo, & Okada, 2008). A question remained as to whether the Japanese children had picked up regularities in the Japanese sound-symbolic lexicon or were sensitive to universal sound-symbolism. The present study aimed to (...) provide support for the latter. In a verb generalization task, English-speaking 3-year-olds were taught novel sound-symbolic verbs, created based on Japanese sound-symbolism, or novel nonsound-symbolic verbs. English-speaking children performed better with the sound-symbolic verbs, just like Japanese-speaking children. We concluded that children are sensitive to universal sound-symbolism and can utilize it in word learning and generalization, regardless of their native language. (shrink)

Wittgenstein distinguishes two areas of what he calls the “use” of a word. First, there is the application of a word in the construction of a sentence, which he calls the “surface grammar.” Second, there is a usage that goes beyond the merely verbal part of language games, the rules governing which he terms “depth grammar.” These latter rules constitute what the preliminary work for the Investigations still referred to as “logical form.” To spell out Wittgenstein's analogy a little, he (...) must mean that, just as we are accustomed to saying the alphabet aloud in a certain way, so too are we familiar with the forms of expression of our language, for example with the subject predicate form. One became familiar with the forms in the course of originally learning how to use them ‐ that is, in learning certain ways of forming linguistic complexes at the level of content. (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)

This chapter, which describes the spatiality of conscious phenomena, such as colours and sounds, addresses James Gibson’s ecological approach to confirm and develop further the Husserlian phenomenological view of colours and sounds. The ecological approach to perception could be regarded as an attempt to undertake empirical research corresponding to the phenomenological insight of perception. In this context, in addition to the Husserlian concept of “adumbration” and the Gibsonian concept of “ecological optics,” the differentiation of various modes of colour appearances, which (...) David Katz explicated, is focused on, developed and applied further to the phenomena of sounds. On the basis of these discussions, the multi-dimensional character of colours and sounds are explicated, and traditional views on colours and sounds, which neglect this character, are criticized. The concept of multi-dimensionality discovers the remarkable diversity of the world of colours and sounds, which demonstrate the diversity and multiple dimensionality of the field of consciousness. (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)

A widespread view among philosophers and scientists is that recorded sounds and assisted hearing differ fundamentally from natural sounds and direct hearing. It is commonly claimed, for example, that the sounds we hear over the phone are not sounds emitted by the voice of our interlocutor, but the sounds reproduced by the phone’s loudspeaker. According to this view, hearing distant sounds through communication and audio equipment is at best indirect and at worst illusory. In what follows, I shall reject these (...) claims and argue in favor of a transparent view of auditory media, including radio, telephone, phonograph, etc. According to this approach, the great gift of Scott de Martinville and Edison is not to have invented devices able to reproduce vanished sounds but rather to have created technological instruments literally able to store and transmit them to future and distant listeners. (shrink)

Defining qualified reasoning as reasoning containing such loose qualifying words as 'probably,' 'usually,' 'probable, 'likely,' 'ceteris paribus,' and 'primafacie, Ennis argues that typical cases of qualified reasoning, though they might be good arguments, are deductively invalid, implying that such arguments fail soundness standards. He considers and rejects several possible alternative ways of viewing such cases, ending with a proposal for applying qualified soundness standards, which requires employment of sufficient background knowledge, sensitivity, experience and understanding of the situation. All of this (...) takes place as part of the process, introduced elsewhere, of successively applying different legitimate sets of standards until one is found that is satisfied, or none is found, the latter calling for rejection of the argument, the former calling for its acceptance. (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)

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)

Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory–acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or (...) an extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non‐acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text. (shrink)

Theoretical models and correlational research suggest that anger and disgust play different roles in moral judgment. Anger is theorized to underlie reactions to crimes against persons, such as battery and unfairness, and disgust is theorized to underlie reactions to crimes against nature, such as sexual transgressions and cannibalism. To date, however, it has not been shown that induction of these two emotions has divergent effects. In this experiment we show divergent effects of anger and disgust. We use sounds to elicit (...) anger and disgust, and participants are then asked to consider moral vignettes. As compared to disgust and control condition, anger increases severity of judgments about crimes against persons, and disgust increases severity of judgments about crimes against nature, but not conversely. (shrink)

Sound Unseen explores the phenomenon of acousmatic sound-a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses.

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)

Acoustic experiences of nature represent a growing area in restorative environments research and are explored in this narrative literature review. First, the work surveyed indicates that nature is broadly characterized by the sounds of birdsong, wind, and water, and these sounds can enhance positive perceptions of natural environments presented through visual means. Second, isolated from other sensory modalities these sounds are often, although not always, positively affectively appraised and perceived as restorative. Third, after stress and/or fatigue nature sounds and soundscapes (...) can lead to subjectively and objectively improved mood and cognitive performance, as well as reductions in arousal, although some inconsistencies in findings are observed. Fourth, theoretical frameworks of restorative environments would benefit from inclusion of acoustic environmental properties such as sound intensity or frequency. Fifth, findings regarding positive, learned semantic associations with nature have arisen as a result of recent work on sounds and restoration. This represents another important area of potential theoretical development for broader restorative environments research. (shrink)

Forthcoming publication in Auditory Perception and Sounds.

In 2015 Dag Prawitz proposed an Ecumenical system where classical and intuitionistic logic could coexist in peace. The classical logician and the intuitionistic logician would share the universal quantifier, conjunction, negation and the constant for the absurd, but they would each have their own existential quantifier, disjunction and implication, with different meanings. Prawitz’ main idea is that these different meanings are given by a semantical framework that can be accepted by both parties. The aim of the present paper is [1] (...) to prove the normalization theorem for the propositional fragment NEp of Prawitz’ ecumenical system, and [2] to show that NEp is sound and complete with respect to a Kripke-style semantics for the language of NEp. (shrink)

This book takes an exciting perspective on language change, by explaining it in terms of Darwin's evolutionary theory. Looking at a number of developments in the history of sounds and words, Nikolaus Ritt shows how the constituents of language can be regarded as mental patterns, or 'memes', which copy themselves from one brain to another when communication and language acquisition take place. Memes are both stable in that they transmit faithfully from brain to brain, and active in that their success (...) at replicating depends upon their own properties. Ritt uses this controversial approach to challenge established models of linguistic competence, in which speakers acquire, use, and shape language. In Darwinian terms, language evolution is something that happens to, rather than through, speakers, and the interests of linguistic constituents matter more than those of their human 'hosts'. This book will stimulate debate among evolutionary biologists, cognitive scientists and linguists alike. (shrink)

Cognitive Science, Volume 45, Issue 11, November 2021.

What is the relationship between sounds and time? More specifically, is there something essentially or distinctively temporal about sounds that distinguishes them from, say, colors, shapes, odors, tastes, or other sensible qualities? And just what might this distinctive relation to time consist in? Apart from their independent interest, these issues have a number of important philosophical repercussions. First, if sounds are temporal in a way that other sensible qualities are not, then this would mean that standard lists of paradigm secondary (...) qualities offered by Locke, Galileo, and other modern philosophers — lists which include colors, odors and sounds without any significant distinctions — overlook significant metaphysical differences. This, in turn, would threaten to undermine the coherence of the modern understanding of secondary qualities itself. Moreover, a number of authors have recently urged that the essential temporality of sounds makes it impossible to understand sounds as properties (except on a trope theory of properties; see note 3). If true, and given the more or less universal view that colors are properties, this last conclusion would make potentially inapplicable to sounds much of the comparatively well-developed philosophical taxonomy and apparatus that has arisen in philosophical disputes over the status of colors (for presentations of this taxonomy and apparatus see, for example, Byrne and Hilbert (2003); Cohen (2008b)).1 Therefore, the conclusion that sounds are distinctively temporal would be a serious blow to hopes for a theoretically unified treatment of the sensory qualities.2 For all these reasons, quite a lot seems to hang on the question of the temporality of sounds. (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)

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

From the winds of Mars to a baby's first laugh, a prolific philosopher-composer reflects on the profound imperative of sound in everyday life. Experiencing Sound presents its subject, the one sense we can never stop using, as fundamental to all experience-sensation, perception, and understanding. Lawrence Kramer turns on its head the widespread notion that vision takes pride of place among the senses and demonstrates how paying attention to sound can transform how we make meaning out of experience. (...) Through a series of brief, lyrical forays, Experiencing Sound shows that sound is the object of a primary need and an essential component in the sensation of being alive and the perception of time. It is something that we may suffer-or be made to suffer-as well as enjoy. Like its predecessor, The Hum of the World, this book ranges widely across music, philosophy, literature, art, media, and history, from classical antiquity to the present, as it invites us to experience sound anew. (shrink)

Sounds are heard, sometimes even felt, but in most cases they remain unseen. This ephemeral and invisible nature of sound was already considered a problem when the science of acoustics took form in the seventeenth century. The fact that sound could not be seen was described as a significant hindrance to its understanding. But it was precisely during this time that a wide variety of sounds attracted broad scientific attention across Europe. Scholars, natural philosophers, and mathematicians investigated and (...) experimented with sound and musical instruments and developed theories of hearing. This article looks at the role of images, diagrams, and visualization techniques in late seventeenth-century acoustics, bringing together the history of sound and the history of scientific images. Focusing on water and light as the dominant analogies for sound, the article demonstrates that visualization was an important tool for thinking about sound and allowed for the circulation of theories and experiments. At the same time, the epistemic status of these images remained contested, as there was no single model that could explain the different ways sound behaves as it moves through space and that could be visualized. (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)

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.

Defining qualified reasoning as reasoning containing such loose qualifying words as 'probably,' 'usually,' 'probable, 'likely,' 'ceteris paribus,' and 'primafacie, Ennis argues that typical cases of qualified reasoning, though they might be good arguments, are deductively invalid, implying that such arguments fail soundness standards. He considers and rejects several possible alternative ways of viewing such cases, ending with a proposal for applying qualified soundness standards, which requires employment of sufficient background knowledge, sensitivity, experience and understanding of the situation. All of this (...) takes place as part of the process, introduced elsewhere, of successively applying different legitimate sets of standards until one is found that is satisfied, or none is found, the latter calling for rejection of the argument, the former calling for its acceptance. (shrink)

A philosophical analysis of sonically charged concepts to map a theory of "sound affects.".

Olfaction has recently been highlighted as a sense poorly connected with language. Odor is difficult to verbalize, and it has few qualities that afford mimicry by vision or sound. At the same time, emotion is thought to be the most salient dimension of an odor, and it could therefore be an olfactory dimension more easily communicated. We investigated whether sounds imitative of an innate disgust response can be associated with unpleasant odors. In two experiments, participants were asked to make (...) a forced choice between a pseudoword including a disgust sound and a neutral pseudoword, for pleasant and unpleasant odors. Overall, participants chose more disgust pseudowords than neutral pseudowords for unpleasant odors, but this was not the case for pleasant odors. This effect was not driven by a general association between unpleasant sounds and unpleasant odors, but specifically the sounds [x/χ] and [f], thought to reflect physical responses to disgusting odors, as seen in the Polish fu! or the English ugh!. In line with growing evidence that language can encode odor, we provide the first experimental evidence for an association between the sound of a word and odor valence. (shrink)

Sound Pressure reveals how speaker systems mounted in public, employment, military and entertainment environments have played a pivotal role in the way that humans have been physiologically and psychologically organised and disciplined throughout the past century.

Istanbul Feminist Night Marches are a long-lasting branch of feminist activism for Women’s Day in Turkey. Each year, thousands of women get together around Istiklal Street and sing and chant together; drum beats emanate from percussion groups; whistles accompany slogans, slogans accompany songs. In the end, the acoustic experience becomes one of the most memorable aspects of the demonstration. Following this premise, this article investigates the political significance of the Istanbul Feminist Night Marches through its acoustic atmosphere and asks the (...) question: How is the soundscape of the march related to its political power? What does this soundscape do? And what might we discover from trying to listen to the soundscape of the march with a theoretical ear? Combining personal experiences of individuals who participated in these protests with theories and historical discussions about the gendered acoustic sensory order of the social fabric, this article sets out to reveal the political and transformative power of the Istanbul Feminist Night Marches by investigating the voices and sounds within. The article argues that the composition of Feminist Night Marches, where women gather to stand side by side with their differences, is represented by the acoustic atmosphere of the march that women describe as a cacophony. This acoustic atmosphere enables a different type of relationality and politics that privilege who is speaking rather than what is spoken. When women tune in to this atmosphere they get materially affected by it and leave the scene with an increased capacity to act. The combination of protest against patriarchy and celebration of life within this soundscape creates affective solidarities among women and new potentialities regarding how we relate to each other by sounding possible worlds. (shrink)

Exploring a wide range of sonic practices, from birdsong in the Marshall Islands to Zulu ululation, the contributors reorient the field of sound studies toward the global South in order to rethink and decolonize modes of understanding and listening to sound.