On the Diversity of Auditory Objects

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects.
Keywords Philosophy   Philosophy of Science   Developmental Psychology   Neuropsychology   Epistemology   Cognitive Psychology   Philosophy of Mind
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DOI 10.1007/s13164-009-0018-z
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References found in this work BETA
Zenon W. Pylyshyn (2000). Is Vision Continuous with Cognition? Behavioral and Brain Sciences 22 (3):341-365.

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Citations of this work BETA
Mark A. Johnstone (2013). Aristotle on Sounds. British Journal for the History of Philosophy 21 (5):631-48.
Matthew Fulkerson (2011). The Unity of Haptic Touch. Philosophical Psychology 24 (4):493 - 516.

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