Sound Edited by Casey O'Callaghan (Rice University)

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  • Jonathan Cohen, Sounds and Temporality.
    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 (...)
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  • Sam C. Coval (1963). Persons and Sounds. Philosophical Quarterly 13 (January):26-32.
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  • John Kulvicki (2008). The Nature of Noise. Philosophers' Imprint 8 (11):1-16.
    There is a growing consensus in the philosophical literature that sounds differ rather profoundly from colors. Colors are qualities, while sounds are particulars of some sort or other, such as events or pressure waves. A key motivation for this is that sounds seem to be transient, to evolve over time, to begin and end, while colors seem like stable qualities of objects' surfaces. I argue that sounds are indeed, like colors, stable qualities of objects. Sounds are not transient, and they (...)
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  • Don Locke (1961). Strawson's Auditory Universe. Philosophical Review 70 (October):518-532.
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  • Fiona Macpherson (1999). Perfect Pitch and the Content of Experience. Philosophy and Anthropology 3 (2).
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  • Matthew Nudds, Auditory Perception and Sounds.
    It is a commonly held view that auditory perception functions to tell us about sounds and their properties. In this paper I argue that this common view is mistaken and that auditory perception functions to tell us about the objects that are the sources of sounds. In doing so, I provide a general theory of auditory perception and use it to give an account of the content of auditory experience and of the nature of sounds.
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  • Matthew Nudds (2001). Experiencing the Production of Sounds. European Journal of Philosophy 9 (2):210-229.
    Whether or not we would be happy to do without sounds, the idea that our expe- rience of sounds is of things which are distinct from the world of material objects can seem compelling. All you have to do to confirm it is close your eyes and reflect on the character of your auditory experience.
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  • Casey O'Callaghan, The Argument From Vacuums.
    A commonly shared assumption is that there are no sounds in vacuums. If the standard science-based view that sounds are waves that exist in and travel through a medium such as air or water is correct, then vacuums hold no sounds and the shared assumption is true. Recently, however, several philosophers (Pasnau 1999, 2000; Casati and Dokic 1994) have argued against the received view. These authors have claimed, primarily on perceptual grounds, that sounds are properties of their sources (Pasnau 1999) (...)
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  • Casey O'Callaghan, The Locations of Sounds.
    When you hear the sound of a car drive by on the street outside your window, you learn not only whether the car has a hole in its muffler or has squealing brakes. You also learn something about the location of the car because hearing furnishes information about the locations of its objects. By listening, you learn not only about the character of the things and happenings around you, but also about where they are in the surrounding environment. The question (...)
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  • Casey O'Callaghan, Pitch.
    Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.
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  • Casey O'Callaghan (2010). Perceiving the Locations of Sounds. Review of Philosophy and Psychology 1 (1).
    Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial nature. I defend three proposals. First, audition furnishes information about the locations of things and events in one's environment because auditory experience itself is spatial. Audition represents space. Second, we hear the locations of things and events by or in hearing locational information about their sounds. Third, we auditorily experience sounds (...)
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  • Casey O'Callaghan (2009). Audition. In John Symons & Paco Calvo (eds.), The Routledge Companion to Philosophy of Psychology.
    Provides the theoretical and psychological framework to the philosophy of sounds and audition. I address auditory scene analysis, spatial hearing, the audible qualities, and cross-modal interactions.
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  • Casey O'Callaghan (2009). Introduction: The Philosophy of Sounds and Auditory Perception. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oxford University Press.
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  • Casey O'Callaghan (2009). The World of Sound. The Philosophers' Magazine.
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  • Casey O'Callaghan (2009). Sounds. In Timothy J. Bayne, Axel Cleeremans & P. Wilken (eds.), Oxford Companion to Consciousness. Oup.
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  • Casey O'Callaghan (2009). Sounds and Events. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays.
    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, (...)
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  • Casey O'Callaghan (2007). Sounds: A Philosophical Theory. Oxford University Press.
    ... 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 (...)
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  • Casey O'Callaghan (2007). Echoes. The Monist 90 (3):403-414.
    Echo experiences are illusory experiences of ordinary primary sounds. Just as there is no new object that we see at the surface of a mirror, there is no new sound that we hear at a reflecting surface. The sound that we hear as an echo just is the original primary sound, though its perception involves illusions of place, time, and qualities. The case of echoes need not force us to adopt a conception according to which sounds are persisting object-like particulars (...)
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  • Brian O'Shaughnessy (1957). The Location of Sound. Mind 66 (October):471-490.
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  • Robert Pasnau (2000). Sensible Qualities: The Case of Sound. Journal of the History of Philosophy 38 (1):27-40.
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  • Robert Pasnau (1999). What is Sound? Philosophical Quarterly 50 (196):309-24.
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  • Ian Phillips (forthcoming). Hallucinating Silence. In Dimitri Platchias & Fiona Macpherson (eds.), Hallucination. MIT Press.
    Audrey … lives in a noisy environment and so has never experienced silence. Audrey … wants to experience silence and so constructs a soundproof chamber. When she enters the chamber, Audrey learns something: what it is like to hear silence. … Audrey is introspecting an absence of auditory sensations while perceiving an absence of sound … an auditory gap that originates through healthy hearing of an external state of silence. (271).
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  • Jay F. Rosenberg (1978). On Strawson: Sounds, Skepticism, and Necessity. Philosophia 8 (November):405-419.
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