The Indian-America philosopher Sri Chinmoy Ghose has distinguished between outer silence, inner silence, and innermost silence. In this paper I explore these distinctions and their educational relevance. My main conclusions are that (a) a deep inner silence, undistracted by questions or other thoughts, is at the root of one paradigm kind of good listening in education, and (b) what Chinmoy refers to as “innermost silence” is the moral virtue of receptivity to others that sustains inner silence, even under challenging (...) conditions, a virtue of importance in teaching and in learning from others. (shrink)

In Polish historiography on radio in the Stalinist period, the official propaganda broadcast by Polish Radio is very often juxtaposed with the free and unbiased broadcasting of Radio Free Europe (RFE), which can create the impression that RFE was the only source of information in Poland and tends to diminish the importance of Polish Radio. In fact, both broadcasting institutions were crucial players in Cold War warfare, which was described by George F. Kennan in terms of Clausewitz's “fog of war.” (...) Indeed, both RFE and Polish Radio were listening to each other through the Iron Curtain because “white propaganda” (along with the intelligence obtained from political refugees) was one of the most important sources of information. The two broadcasting stations were more alike than we are willing to admit. For instance, the Polish section of RFE mimicked the post-war strategy of Polish Radio. While the latter pretended to be the continuation and successor of the pre-war institution, RFE's propaganda shaped the programme of Polish Radio for many years. Using this case study on RFE's attitude toward Poland's western borders along the Odra and Nysa Rivers, I show how these two opposing broadcasting stations functioned within an endless propaganda feedback loop. (shrink)

Listening and Voice is an updated and expanded edition of Don Ihde's groundbreaking 1976 classic in the study of sound.

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this (...) theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (shrink)

In this lyrical meditation on listening, Jean-Luc Nancy examines sound in relation to the human body. How is listening different from hearing? What does listening entail? How does what is heard differ from what is seen? Can philosophy even address listening, écouter, as opposed to entendre, which means both hearing and understanding? Unlike the visual arts, sound produces effects that persist long after it has stopped. The body, Nancy says, is itself like an echo chamber, responding (...) to music by inner vibrations as well as outer attentiveness. Since “the ear has no eyelid” (Quignard), sound cannot be blocked out or ignored: our whole being is involved in listening, just as it is involved in interpreting what it hears. The mystery of music and of its effects on the listener is subtly examined. Nancy’s skill as a philosopher is to bring the reader companionably along with him as he examines these fresh and vital questions; by the end of the book the reader feels as if listening very carefully to a person talking quietly, close to the ear. (shrink)

Quarantine and spatial distancing measures associated with COVID-19 resulted in substantial changes to individuals’ everyday lives. Prominent among these lifestyle changes was the way in which people interacted with media—including music listening. In this repeated assessment study, we assessed Australian university students’ media use throughout early stages of the COVID-19 pandemic in Australia, and determined whether media use was related to changes in life satisfaction. Participants were asked to complete six online questionnaires, capturing pre- and during-pandemic experiences. The results (...) indicated that media use varied substantially throughout the study period, and at the within-person level, life satisfaction was positively associated with music listening and negatively associated with watching TV/videos/movies. The findings highlight the potential benefits of music listening during COVID-19 and other periods of social isolation. (shrink)

We often fail to defer to sources who know what they’re talking about. When doing so consistently, we fail to manifest a virtue of deference. This is because epistemic virtues are dispositions that promote epistemic goals, and knowledge is an epistemic goal. The present paper makes two points about how to instill this virtue. First, virtues of deference can be instilled by promoting compliance with requests on the part of good sources to be listened to, since listening is conducive (...) to believing. Second, recent research in social psychology on the relationship between justice and compliance suggests that one way to promote compliance with such requests is by having the relevant sources manifest a virtue of their own, namely that of procedural justice, which involves as a crucial component being prepared to listen. (shrink)

Long histories and entrenched habits of inattention among advantaged groups mean that even minor challenge and concession can provoke subjective perceptions of victimization. How, in such conditions, might claims of structural injustice break through? Drawing on field work with practitioners across conflict mediation, therapy, education, and performance – four sectors that facilitate listening in fraught contexts yet are undertheorized in politics – this article makes the case that among the most overlooked and powerful resources for cultivating receptivity and responsiveness (...) among advantaged groups are the arts of listening. Practices of engagement across these sectors establish listening as potent rather than passive, given the extent to which it constitutes the field of encounter and shapes what emerges within it, both in terms of expression and, more significantly in this context, receptivity of those to whom one listens. Yet this also means that how one listens is a pivotal consideration – particularly when listening might serve to reinforce and normalize unjustly dominant positions. In contrast to progressive politics’ emphasis on finding more forceful forms of voice and conventional reliance on direct communicative practices, this article explores how specific comedic, theatrical, and embodied tactics can generate ‘oblique forms of listening’ potentially useful to social justice struggles. (shrink)

In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus my attention on (...) some elements that characterize both music production and reception: historical development of the relationship between technology and music; technologically mediated non-live listening; technologically mediated live listening; ontological oscillation in a musical work of art following its digitalization. These are issues that also bring into play aesthetics in a developmental stage of this discipline, in which a philosophical reflection on technological music may contribute to formulate – as J. Demers wrote – «a theory that acknowledges the interconnectedness of aesthetics with culture and society». (shrink)

Explores listening as a fundamental human endowment connected with language and thought, and its potential for social, personal, and political action. Incorporates historical, literary, intercultural, scientific, musical, and philosophical perspectives"--Provided by publisher.

My argument in this paper is that humility is implied in the concept of teaching, if teaching is construed in a strong sense. Teaching in a strong sense is a view of teaching as linked to students’ embodied experiences (including cognitive and moral-social dimensions), in particular students’ experiences of limitation, whereas a weak sense of teaching refers to teaching as narrowly focused on student cognitive development. In addition to detailing the relation between humility and strong sense teaching, I will also (...) argue that humility is acquired through the practice of teaching. My discussion connects to the growing interest, especially in virtue epistemology discourse, in the idea that teachers should educate for virtues. Drawing upon John Dewey and contemporary virtue epistemology discourse, I discuss humility, paying particular attention to an overlooked aspect of humility that I refer to as the educative dimension of humility. I then connect this concept of humility to the notion of teaching in a strong sense. In the final section, I discuss how humility in teaching is learned in the practice of teaching by listening to students in particular ways. In addition, I make connections between my concept of teaching and the practice of cultivating students’ virtues. I conclude with a critique of common practices of evaluating good teaching, which I situate within the context of international educational policy on teacher evaluation. (shrink)

In a study that goes beyond the ego affirmed by Freudian psychology, David Levin offers an account of personal growth and self-fulfillment based on the development of our capacity for listening. Drawing on the work of Dewey, Piaget, Erikson, and Kohlberg, he uses the vocabulary of phenomenological psychology to distinguish four stages in this developmental process and brings us the significance of these stages for music, psychotherapy, ethics, politics, and ecology. This analysis substantiates his claim that the development of (...) our listening capacity is a process that fits Foucault's conception of a practice of the self, forming our character as social beings and moral agents. David Levin contends that our self- development as auditory beings is necessary for the achievement of a just and democratic society. (shrink)

This full-length study of Plato's dialogue Phaedrus, now in paperback, is written in the belief that such concerted scrutiny of a single dialogue is an important part of the project of understanding Plato so far as possible 'from the inside' - of gaining a feel for the man's philosophy. The focus of this account is on how the resources both of persuasive myth and of formal argument, for all that Plato sets them in strong contrast, nevertheless complement and reinforce each (...) other in his philosophy. Not only is the dialogue in its formal structure a dovetail of myth and argument, but the philosophic life that it praises is also shaped by an acknowledgement of the limitations of argument and the importance of mythical understanding. By means of this correlation of form and content Plato invites his readers, through the very act of reading, to take a first step along the path of the philosophical life. (shrink)

Even though Slavoj Žižek has written many words about music without really saying much about it, his work nevertheless contains much that for the philosophically minded musicologist, or for the musically minded philosopher, can stimulate thinking. For the author of this article, for example, some of the ideas presented in Žižek’s 2006 The Parallax View have stimulated thinking about the possibilities of taking a comparable approach—that is, a metaphorically ‘parallax’ approach that involves considering an object of attention alternately from more (...) than one perspective—not just to music but to sounds in general. Along with summarizing Žižek’s views on music per se, “Focused Listening: The Aesthetics of Parallax” explores various ways in which persons in the presence of a single ‘sound object’ might listen to, and thus perceive and hear, that sonic phenomenon. (shrink)

This chapter demonstrates that the Seventh Letter, explicitly and throughout its entirety, thematizes hearing and listening, and it comprises an exhortation to listen well. After laying down groundwork showing that logos must include listening, not merely assertion or expression, the chapter first demonstrates the political significance of the exhortation to listen based on a unified reading of the Letter that conjoins the concerns of the so-called digression with the rest of its content. It situates the “weakness of logos” (...) taken up in the digression, which most scholars treat in an ontological-linguistic weakness, as an aural phenomenon within the Letter’s distinctly political aims. That is to say, the “weakness of logos,” referred to in the so-called digression is also a weakness of hearers and hearing and is thus a political weakness, as well. The chapter then goes on to argue that the politics of listening in the Seventh Letter, as well as in some aspects of Socratic dialectic, rely necessarily on certain forms of domination or compelled listening, and I therefore consider the links between hearing and tyranny in the Letter. Finally, I speculate on what a more liberated politics of listening and hearing might look like and what role the Platonic writings might play as a propaedeutic to better listening in the city. I conclude by arguing that because of the “weakness of logos,” Plato’s task is inherently paradoxical: Plato calls us to hear what we are not yet able to hear, tyrannizing in order to liberate our sense of hearing. (shrink)

Sense of agency refers to the ability to influence one’s functioning and environment, relating to self-efficacy and wellbeing. In youth, agency may be challenged by external demands or redefinition of self-image. Music, having heightened relevance for the young, has been argued to provide feelings of self-agency for them. Yet, there is little empirical research on how music impacts adolescents’ daily sense of agency. The current study investigated whether music listening influences adolescents’ perceived agency in everyday life and which individual (...) and contextual determinants would explain such an influence. Participants were 44 adolescents (48% female, 36% with training in music, mean age 14), recruited through local schools. The mobile Experience Sampling app MuPsych was used to collect brief self-reports of personal music listening experiences during daily life. This method assessed the change in the listener’s perceived control over both their emotional states (Internal Agency), and their external environment (External Agency), over five minutes of music listening. Also measured were changes in mood states, and contextual variables (social situation, concurrent activity, and reason for listening). The impact of music on the sense of agency was analyzed using multilevel structural equation modelling. There was no general increase of agency across all music episodes, but agency fluctuations were determined by specific individual and contextual factors. Music training predicted increases in both internal and external agency during music listening, and external agency increased more for male participants. Certain context features such as listening alone, paying attention to music, and listening for enjoyment were related to greater increases in agency. Increases in agency significantly correlated with increases in mood valence. Our findings confirmed the plasticity and situational embeddedness of the sense of agency. Music indeed can support agency, but the impact is dependent on specific individual and contextual factors. Sense of agency can be seen as a health resource and significant part of youth development, and current findings provide new insight into when and by whom such affordance is likely to be employed. (shrink)

Whoosh, crunch, buzz, inhale, exhale... Listening for Learning: Performing a Pedagogy of Sound and Listening presents sound, listening, and pedagogical interactions as performances that create relationships, ways of being and knowing, and that provide an opportunity for transformations of existing and taken-for-granted practices in the classroom. By using performative listening and performative writing this book presents fragments of sound and listening as sites of learning and knowledge production. The written fragments throughout this book are offered (...) as performances that listen for and hear sound as a central feature to educational practices in terms of bodies, classrooms, and pedagogy. The goal in sharing this performance of listening is to create opportunities for recognition, to invite further listening in educational contexts, and to employ listening as an opportunity for transforming and re-imagining educational spaces and interactions. (shrink)

Beyond the observation that both speakers and listeners rapidly inspect the visual targets of referring expressions, it has been argued that such gaze may constitute part of the communicative signal. In this study, we investigate whether a speaker may, in principle, exploit listener gaze to improve communicative success. In the context of a virtual environment where listeners follow computer-generated instructions, we provide two kinds of support for this claim. First, we show that listener gaze provides a reliable real-time index of (...) understanding even in dynamic and complex environments, and on a per-utterance basis. Second, we show that a language generation system that uses listener gaze to provide rapid feedback improves overall task performance in comparison with two systems that do not use gaze. Aside from demonstrating the utility of listener gaze in situated communication, our findings open the door to new methods for developing and evaluating multi-modal models of situated interaction. (shrink)

The COVID-19 outbreak required diverse strategies, such as social distancing and self-isolation, to avoid a healthcare system crisis. However, these measures have been associated with the onset or increase of anxiety and depression symptoms in the population. Music listening was previously shown to regulate emotion, consequently reducing depression symptoms. Since previous studies with Brazilian samples have already shown a high prevalence of depressive symptoms during the first confinement period, the aim of this study was threefold: (i) to compare groups (...) with severe depression symptoms and no depression in what concerns to demographic and socio-economic factors as well as symptoms of anxiety and resilience levels, (ii) to explore changes in music listening daily routine during the confinement measures by both groups (no depression and severe depression), and (iii) to investigate which were the main factors influencing both two groups to music listening during the COVID-19 pandemic. This cross-sectional study included 494 Brazilian respondents aged 18 years and above. Our online survey comprised demographics, socio-economic, and COVID-19 related questionnaires, with questions regarding music listening used during social distancing measures on which the participants rated how much each of the 41 potential reasons for listening to music changed in importance compared to the situation before the pandemic and also the evaluation of anxiety, depression, and resilience levels. The respondents with severe depression were younger and showed higher levels of anxiety symptoms and lower resilience level. Furthermore, they were increasingly likely to listen to music to feel emotionally better with the situation, to feel comfort, to forget problems, to be energetic, to decrease sad feelings, to relax, to cheer up, to forget concerns, to express feelings, to reduce anxiety, to remember better times, to relieve boredom, to mentally stimulate themselves, and to ward off stressful thoughts compared to the participants with no depression. The exploratory factor analysis (FA) identified four types of music listening functions during social distancing measures: negative mood management, cognitive functioning, positive mood management, and physical involvement, in which the participants with severe depression revealed significant differences compared to non-depressed participants for the negative mood management factor, which shows the importance of music listening to regulate their negative emotions. As a conclusion, we can argue that most of our respondents used music listening to cope with and regulate their moods during confinement, especially those who presented with severe depression symptoms. (shrink)

Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. Listening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.

I discuss the social dimension of musical experience. I focus on the question of whether there is joint musical listening. One reason for this focus is that Adorno and those in his tradition give us little in the way of an understanding of what the social dimension of musical experience might be. We need a proper clear conception of the issue, which the issue of joint experience yields. I defend a radically individualistic view, while conceding that such a view, (...) inspired by Hanslick, may have political ramifications. I have two arguments. The first is a principled argument against joint musical listening from the impossibility of perceiving the aesthetic properties of music. I connect this with the privacy of our grounds for aesthetic judgements about music. The second argument accepts that joint listening could in principle span different sense modalities, but draws attention to the fact that the experiences on which aesthetic judgements are based cannot be willed in a way they would have to be if there was joint listening. Lastly, I consider two phenomena, of making music together and dancing together, which seem to involve joint listening, but in fact do not. I end by drawing an individualist conclusion about the nature of musical experience. (shrink)

Listening appears as elusive as it is crucial to democratic life, particularly in conditions of structural injustice. Dominant groups benefit from histories and habits of inattention and, when enlisted, common responses of denial, defensiveness, and resentment. What lies behind this pervasive and persistent failure to listen to claims of structural injustice by more advantaged groups, and what does this mean for democratic engagement? This paper addresses this question via three interventions: first, it develops a novel account of listening (...) that reveals why listening to claims of structural injustice often proves difficult. Second, it examines how inhabiting positions of relative advantage shapes whether and how people listen to such claims. Finally, it explores the implications these challenges have for the design of democratic processes that seek to engage advantaged groups regarding structural injustice. To develop this account, I draw together current scholarship regarding listening and structural injustice with original fieldwork of recent and current efforts to engage more advantaged communities regarding a specific form of structural injustice: specifically, interviews and observation of the ten organizations across Aotearoa New Zealand most active in efforts to engage communities regarding socio-economic inequality in the country. (shrink)

Listening to the landscape means hearing the world differently, this article contends. Since its theorization in the pictorial figuration of the fifteenth and sixteenth centuries, landscape has been conceived as a spatial extent delimited by the gaze of a spectator. In the late 1960s a more complex and sensitive approach to landscape, including reflection on its sound and acoustic aspects, began to emerge. Despite this new focus, a certain oculo-centrism still persists. The ecosophical approach — which complicates and goes (...) beyond the antitheses of subject/object, ethics/aesthetics, nature culture — that is put forward here promotes a new aesthetic dimension focused on listening. Based on the notions of presence, holism and non-separation, this approach makes it possible to combine the individual and the collective imagination with social relations and natural processes. (shrink)

In Listening Subjects, David Schwarz uses psychoanalytic techniques to probe the visceral experiences of music listeners.

In _Listening in the Afterlife of Data_, David Cecchetto theorizes sound, communication, and data by analyzing them in the contexts of the practical workings of specific technologies, situations, and artworks. In a time he calls the afterlife of data—the cultural context in which data’s hegemony persists even in the absence of any belief in its validity—Cecchetto shows how data is repositioned as the latest in a long line of concepts that are at once constitutive of communication and suggestive of its (...) limits. Cecchetto points to the failures and excesses of communication by focusing on the power of listening—whether through wearable technology, internet-based artwork, or the ways in which computers process sound—to pragmatically comprehend the representational excesses that data produces. Writing at a cultural moment in which data has never been more ubiquitous or less convincing, Cecchetto elucidates the paradoxes that are constitutive of computation and communication more broadly, demonstrating that data is never quite what it seems. (shrink)

Through a series of exquisite encounters with children, and through a lucid opening up of new aspects of poststructuralist theorizing, Bronwyn Davies opens up new ways of thinking about, and intra-acting with, children. This book carefully guides the reader through a wave of thought that turns the known into the unknown, and then slowly, carefully, makes new forms of thought comprehensible, opening, through all the senses, a deep understanding of our embeddedness in encounters with each other and with the material (...) world. This book takes us into Reggio-Emilia-inspired Swedish preschools in Sweden, into the author's own community in Australia, into poignant memories of childhood, and offers the reader insights into:new ways of thinking about children and their communities; the act of listening as emergent and alive; ourselves as mobile and multiple subjects; the importance of remaining open to the not-yet-known.Defining research as diffractive, and as experimental, Davies' relationship to the teachers and pedagogues she worked with is one of co-experimentation. Her relationship with the children is one in which she explores the ways in which her own new thinking and being might emerge, even as old ways of thinking and being assert themselves and interfere with the unfolding of the new. She draws us into her ongoing experimentation, asking that we think hard, all the while delighting our senses with the poetry of her writing, and the stories of her encounters with children. (shrink)

The author points out to the rehabilitation of listening which occurs in Lyotard's philosophy in the field of his aesthetic analysis. The philosophical grasping of time and especially the instant is being explained in Lyotard through the listening mode and in invoking the aural experiences and the experiences of sound. The author suggests that the category of listening is often used in place of the category of aesthetic and as metaphor of the aesthetic perception. In contrast to (...) seeing, listening can be undertaken together with other sensual experiences and thus it allows for a more polyphonic experience. Listening, author maintains, is a very special type of experience, on one hand it is open and welcoming, on the other discrete and prone to solitude, qualitatively changing its course. (shrink)

_Listening for the Secret_ is a critical assessment of the Grateful Dead and the distinct culture that grew out of the group’s music, politics, and performance. With roots in popular music traditions, improvisation, and the avant-garde, the Grateful Dead provides a unique lens through which we can better understand the meaning and creation of the counterculture community. Marshaling the critical and aesthetic theories of Adorno, Benjamin, Foucault and others, Ulf Olsson places the music group within discourses of the political, specifically (...) the band’s capacity to create a unique social environment. Analyzing the Grateful Dead’s music as well as the forms of subjectivity and practices that the band generated, Olsson examines the wider significance and impact of its politics of improvisation. Ultimately, _Listening for the Secret_ is about how the Grateful Dead Phenomenon was possible in the first place, what its social and aesthetic conditions of possibility were, and its results. This is the first book in a new series, _Studies in the Grateful Dead_. (shrink)

In this article, Heather Greenhalgh-Spencer argues that deep listening is the foundational component of bridge-building; that it is deep listening that foments the trust and desire for action that undergirds our building of bridges. While “listening” is not a new topic, Greenhalgh-Spencer adds to the literature by expanding on what are the essential components of the kind of listening — which she calls “deep listening” — that can lead to ethical action, change, and connection. She (...) identifies desire, care, acknowledgment of difference, acknowledgment of power, and courage as the key components of this form of listening. Furthermore, she aims to provide concrete examples of how deep listening enables — in fact, is the primary foundation for — bridge-building. She begins the article by defining “deep listening” and then moves to an example of deep listening in action, one taken from the context of community-engaged partnerships — a type of bridge-building in which university faculty create partnerships with community members. In taking this approach, Greenhalgh-Spencer provides a clear illustration of the essential role deep listening plays in the ethical bridge-building process. (shrink)

This article reviews the historical and current controversies about the nature of clinical ethics consultation, as a way to focus on the place and responsibility of ethics consultants within the context of clinical conversation — interpreted as a form of dialogue. These matters are approached through a particularly compelling instance of the controversy that involves several major figures in the field. The analysis serves to highlight very significant questions of the nature and constraints of clinical situations, and the moral responsibility (...) and legal accountability that are especially important for clinical ethics consultants. (shrink)

In the real world, many people suffer as a function of their subordinate position in social hierarchy. Deliberative, relativist, and essentialist political theorists have sketched philosophies of social criticism that alone are inadequate for criticizing some harmful social values, practices, and norms. Certainly, theirs are critical theories in the sense that they are actionable, coherent, and self-reflective. But they are not adequate theories of social criticism. They do not specify satisfactorily the roles, qualifications, and methodology of social critics worried about (...) the struggles and wishes of real people. I specify all three. Drawing from the practical experience of a wide variety of women activists, I generalize about the roles and qualifications of the social critic. In addition, I formally articulate a method of social criticism that feminists have been developing. Collectively, feminists--particularly Third World women activists-have pioneered a method of social criticism that allows them to criticize existing social values, practices, and norms that perpetuate inequalities. The method of social criticism I propose provides a discipline for ongoing questioning and evaluation of social practices by a society with the help of social critics. In the process of explicating my own philosophy of social criticism, I offer criticisms of the implications for social criticism of three political philosophies--deliberative democratic theory, Michael Walzer's relativism, and Martha Nussbaum's essentialism--and argue that feminist critics have managed to achieve in practice what adherents of those three schools do incompletely in theory. (shrink)

In the philosophy of music and in musicology, apart from ethnomusicology, there is a long tradition of focus on musical compositions as objects of inquiry. But in both disciplines, a body of recent work focuses on the place of performance in the making of music. Most of this work, however, still takes for granted that compositions, at least in Western art music, are the primary objects of aesthetic attention. In this paper I focus on aesthetic attention to the performing activity (...) itself. I begin by roughly characterizing what is involved in attending to the performing activity of musical performers. I then argue that such attention is essential to the full appreciation of the central compositions of the Western art music canon. Finally, I argue that, often enough, recordings provide a suitable vehicle for this sort of attention; listeners to recordings can use them to listen to musical performance. (shrink)

_Listening to the Whispers_ gives voice to scholars in philosophy, medical anthropology, physical therapy, and nursing, helping readers re-think ethics across the disciplines in the context of today's healthcare system. Diverse voices, often unheard, challenge readers to enlarge the circle of their ethical concerns and look for hidden pathways toward new understandings of ethics. Essays range from a focus on the context of corporatization and managed care environments to a call for questioning the fundamental values of society as these values (...) silently affect many others in healthcare. Each chapter is followed by a brief essay that highlights issues useful for scholarly research and classroom discussion. The conversations of interpretive research in healthcare contained in this volume encourage readers to re-think ethics in ways that will help to create an ethical healthcare system with a future of new possibilities. Outstanding Academic Title, _Choice_ Magazine. (shrink)

Listening After Nature questions the reality of auditory natures. It argues that the line between wilderness and industrial culture is dull, and the natural world is presently a critical construct that entangles humans, animals, sites and technologies. Bringing new insights to the field of environmental sound arts in areas such as field recording, acoustic ecology and soundscape studies, Wright examines contemporary and archival audio works and calls for a 'post-natural' approach to sound. The book propels sounds arts discourse into (...) critical relationship with the environmental humanities and contemporary approaches dealing with the consequences of Anthropogenic change. Critical and imaginative, this is a book that forges urgent debate between sound, ethics, aesthetics and ecology. (shrink)

I offer a novel interdisciplinary approach to understanding the communicative task of listening, which is under-theorised compared to its more conspicuous counterpart, speech. By correlating a Rylean view of mental actions with a virtue ethical framework, I show listeners’ internal activity as a morally relevant feature of how they treat people. The listener employs a policy of responsiveness in managing the extent to which they allow a speaker's voice to be centred within their more effortful, engaged attention. A just (...) listener's policy of responsiveness avoids unwarrantedly dismissing speakers’ messages on the basis of peripheral attention alone. (shrink)

Listening is crucial to reaching multicultural understanding. Borrowing from the work of Hans-Georg Gadamer we develop a hermeneutics of listening. To listen we must risk our prejudices, but these prejudices constitute our very identity. In this paper we attempt to answer the question, “Why Listen?” if listening is such a potentially dangerous activity.

In this paper we list the various criticisms that have been formulated against introspection, from Auguste Comte denying that consciousness can observe itself, to recent criticisms of the reliability of first person descriptions. We show that these criticisms rely on the one hand on poor knowledge of the introspective process, and on the other hand on a naïve conception of scientific objectivity. Two kinds of answers are offered: the first one is grounded on a refined description of the process of (...) becoming aware of one's experience and describing it, the second one relies on a comparison with the methods of the experimental sciences. We conclude the article by providing a renewed definition of 'the truth' of a first person description. (shrink)

Listening for the sounds of silence: a nursing consideration of caring for the politically tortured In 1997 Amnesty International reported that 115 out of 251 countries surveyed practised torture on their citizens. Many of these victims have been forced to flee their country of origin and become refugees in the West, in countries such as Australia, Canada, the UK and the United States. However, torture itself remains an unspoken and covert problem. In addition to the obvious traumatic effects, it (...) may induce shame and dread on the part of the victim. It may be too terrifying and too painful to talk about, and yet may affect every aspect of a person’s life (Forrest 1996). All too commonly a victim of torture may pass unnoticed or unrecognised because health care providers do not know how, or may be unwilling to engage with the issue. This paper will examine the implications for nurses of caring for the tortured. It will explore the nature of torture itself, who might be the perpetrators and who might be the victims (always acknowledging that nurses and other health care staff are often both), how victims of torture may present for health care, and the possible subjective perceptions of a torture victim when faced with a Western health care process and understanding. Finally, it will argue for an increase in awareness and sensitivity on the part of all nurses in all health care settings to the needs and sensibilities of victims of torture, and suggest that caring for them is the distillation of everything good nursing practice should be. (shrink)

In this essay, Leonard Waks examines John Dewey's account of listening, drawing on Dewey's writings to establish a direct connection in his work between listening and democracy. Waks devotes the first part of the essay to explaining Dewey's distinction between one-way or straight-line listening and transactional listening-in-conversation, and to demonstrating the close connection between transactional listening and what Dewey called “cooperative friendship.” In the second part of the essay, Waks establishes the further link between Dewey's (...) notions of cooperative friendship and democratic society with particular reference to machine-age technologies of mass communication. He maintains that while these technologies provide the means for extending communications throughout modern industrial nations, they simultaneously undermine the conditions fostering face-to-face listening-in-conversation. It remains an open question, Waks concludes, whether new educational arrangements incorporating interactive digital communication technologies will embody and promote transactional listening-in-conversation and revitalized democratic community. (shrink)