Sonic art and the nature of sonic events

Review of Philosophy and Psychology 1 (1):141-156 (2010)
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Abstract

Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a position according to which an adequate phenomenology of auditory experience must refer to mechanisms of sound generation. This position is shown to follow from a phenomenology of sounds as located events and a physicalist account of auditory properties as features of the temporal development of such events.

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David Roden
Open University (UK)

Citations of this work

Sounds.Roberto Casati - 2008 - Stanford Encyclopedia of Philosophy.
Prospects for timbre physicalism.Alistair M. C. Isaac - 2018 - Philosophical Studies 175 (2):503-529.
The problem of perceptual invariance.Alessandra Buccella - 2021 - Synthese 199 (5-6):13883-13905.
Nature’s Dark Domain: An Argument for a Naturalized Phenomenology.David Roden - 2013 - Royal Institute of Philosophy Supplement 72:169-88.

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References found in this work

Consciousness, Color, and Content.Michael Tye - 2000 - Cambridge, Mass.: MIT Press.
Concepts of supervenience.Jaegwon Kim - 1984 - Philosophy and Phenomenological Research 45 (December):153-76.
Critical Notice.Michael Tye - 2000 - Philosophy and Phenomenological Research 68 (1):245-247.
Phenomenal character.Sydney Shoemaker - 1994 - Noûs 28 (1):21-38.
The Aesthetics of Music.Roger Scruton - 1997 - Oxford, GB: Oxford University Press.

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