The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

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)

La philosophie contemporaine a vu se développer les études consacrées au son et à l’audition. Il est devenu courant de rejeter la thèse héritée de Locke selon laquelle le son serait à ranger parmi les qualités secondes, et de le considérer plutôt comme un événement. Cependant, cette proposition soulève des questions : il faut en effet déterminer de quel type d’événement il s’agit, et de quelle manière il occupe l’espace. Différentes conceptions s’affrontent à ce propos : certaines théories font du (...) son un « pur événement », dont aucun objet physique ne serait le sujet, tandis que d’autres l’identifient à une perturbation physique. Parmi ces dernières, on distingue celles qui l’assimilent à la vibration du corps résonnant, de celles qui le considèrent comme une perturbation de l’air environnant. Sans prétendre trancher tous ces débats, le présent article examine ici certaines des difficultés que soulève une théorie particulièrement aboutie, celle de Roberto Casati et Jérôme Dokic. Il s’agit principalement de mettre à l’épreuve leur affirmation selon laquelle leur théorie se montre fidèle au contenu de l’expérience auditive quand elle assimile le son à la vibration du corps sonore, et qu’elle en fait donc un événement physique précisément localisé. La thèse soutenue est que si cette théorie répond de façon satisfaisante à bien des objections, en revanche elle ne prend pas la mesure du problème que constitue pour elle la réverbération du son. Casati et Dokic croient le résoudre grâce à leur analyse de l’écho, mais une description plus précise montre que la réverbération est difficilement conciliable avec leur théorie de la localisation du son. Cependant cet argument ne constitue pas à lui seul une objection décisive : il montre simplement que la réverbération exige une analyse spécifique, non réductible à celle de l’écho. (shrink)

Peut-on vivre sans musique? Ce livre donne toutes les raisons pour lesquelles c'est impossible. De láa son titre. Il montre que la musique est une partie intâegrante et indispensable de notre vie quotidienne. Le timbre, la durâee, la hauteur, l'intensitâe du son musical dâeroulent, au long du temps humain, des ondes áa la vibration desquelles nos oreilles ne peuvent et ne veulent pas se soustraire. Les hommes sont si fortement attachâes áa la puissance de la musique, qu'ils ont inventâe, pour (...) la produire, une admirable diversitâe d'instruments, dont l'ingâeniositâe, le raffinement et les effets sonores dâefient l'imagination. C'est áa travers cet univers, extraordinaire autant que quotidien, que voyage le prâesent livre, en citant et expliquant d'innombrables oeuvres musicales, symphonies, concertos, sonates, quatuors, opâeras, plus fascinantes les unes que les autres, qui jalonnent l'histoire de l'effort opiniãatre des communautâes humaines pour s'enchanter elles-mãemes par cet âetincelant miracle : la musique"--Page 4 of cover. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A person’s (...) actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

Many studies focused on the letter and sound co-occurrences to account for the well-documented syllable-based effects in French in visual (pseudo)word processing. Although these language-specific statistical properties are crucial, recent data suggest that studies which go all-in on phonological and orthographic regularities may be misguided in interpreting how – and why – readers locate syllable boundaries and segment clusters. Indeed, syllable-based effects could depend on more abstract, universal phonological constraints that rule and govern how letter and sound occur and co-occur, (...) and readers could be sensitive to sonority – a universal phonological element – for processing (pseudo)words. Here, we investigate whether French adult skilled readers rely on universal phonological sonority-related markedness continuum across the syllable boundaries for segmentation (e.g., from marked, illegal intervocalic clusters /zl/ to unmarked, legal intervocalic clusters /lz/). To address this question, we ran two tasks with 128 French adult skilled readers using two versions of the illusory conjunction paradigm (Task 1 without white noise; Task 2 with white noise). Our results show that syllable location and segmentation in reading is early and automatically modulated by phonological sonority-related markedness in the absence or quasi-absence of statistical information, and does not require acoustic-phonetic information. We discuss our results towards the overlooked role of phonological universals and the over-trusted role of statistical information during reading processes. (shrink)

I. Le problème de Strawson et la phénoménologie Dans le deuxième chapitre de Individuals, Peter Strawson pose la question du rapport du son à l’espace, et à travers elle, celle de la cohérence de la notion kantienne de sens externe. Le son serait un objet essentiellement temporel, auquel une spatialité ne pourrait être ajoutée que par analogie ou de manière seulement synesthésique ou kinesthésique. L’analyse de Strawson repose sur l’opposition entre les représentations sonores et tactiles de...

A strange fusion of history and autobiography, this study ranges across the themes of sound and silence, solitude and desert, community and home, combining the past and the present, the historical and the personal, in a unique way. Driven by the conviction that “our sounding world deeply shapes our sense of place and of who we are,” Haines-Eitzen, a scholar of early Christianity, seeks to understand how early monasticism was shaped by the soundscape of the Middle Eastern deserts, but also (...) what it means to orient ourselves to a place through listening. Drawing on her field recordings of desert sounds (recorded in the deserts of Israel and North America and made available in the book through barcodes that can be scanned), Haines-Eitzen argues that hearing the nuances of desert sounds requires a “deep listening” founded on inner quietness, and she evokes this state through tales of the Desert Fathers, who spent decades in the deserts of the Middle East trying to cultivate this inner disposition. Their spiritual quest, according to Haines-Eitzen, was shaped by the “acoustic ecology” of the desert—the ever-present sounds of wind, thunder, water, animals, and even humans; their stories, preserved in early monastic sources, “reveal how monks became part of the natural history of the desert, [and] how they were shaped by their experience of desert sounds.”As an academic study of early monasticism (though I am not sure if the book was intended as such), Sonorous Desert is lacking in critical ways, and the monastic sources do not receive the attention and rigorous treatment they deserve. The monastic test cases examined serve as stepping stones in the author's own quest for inner quietness. But the reader who overcomes initial bewilderment over the book's methodology and style does gain something important: a new sensitivity to “the acoustics of solitude”—to the “striking acoustical paradox of the noisy and silent desert.” The Near and Middle Eastern deserts, far from being empty and silent, were (and still are) richly resonant and sonorous. Not only their landscapes but also their soundscapes helped to shape the religious quest of Christian monks, in late antiquity and beyond. By making us aware of and sensitive to the sonority of early monastic texts, Sonorous Desert contributes to a richer and more holistic view of early monastic spirituality. (shrink)

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...) intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

The book describes the features that vibrations and waves of all sorts have in commonand includes examples of mechanical, acoustical, and optical manifestations of these phenomena thatunite various parts of physics.

James Lastra _Sound Technology and the American Cinema: Perception, Representation, Modernity_ New York: Columbia University Press, 2000 ISBN 0-231-11516-4 Hbk; 0-231-11517-2 Pbk 270 pp.

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A person’s (...) actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved st...

A nonlinear coupled wing model subject to unknown external disturbances is proposed in this paper. Since the model is modeled by partial differential equations, the traditional control design scheme based on the ordinary differential equation model is not applicable, and the control law design becomes very complex. In this paper, a new antidisturbance boundary control scheme based on a finite time convergent disturbance observer is proposed. The control laws are designed based on the new disturbance observers to make the external (...) disturbance errors converge to zero in a finite time and ensure the uniformly bounded stability of the controlled system. Finally, the effectiveness of the controllers and the finite-time convergence of disturbance errors are verified by the simulation and comparison. (shrink)

It has been well documented how language-specific cues may be used for word segmentation. Here, we investigate what role a language-independent phonological universal, the sonority sequencing principle (SSP), may also play. Participants were presented with an unsegmented speech stream with non-English word onsets that juxtaposed adherence to the SSP with transitional probabilities. Participants favored using the SSP in assessing word-hood, suggesting that the SSP represents a potentially powerful cue for word segmentation. To ensure the SSP influenced the segmentation process (i.e., (...) during learning), we presented two additional groups of participants with either (a) no exposure to the stimuli prior to testing or (b) the same stimuli with pauses marking word breaks. The SSP did not influence test performance in either case, suggesting that the SSP is important for word segmentation during the learning process itself. Moreover, the fact that SSP-independent segmentation of the stimulus occurred (in the latter control condition) suggests that universals are best understood as biases rather than immutable constraints on learning. (shrink)

It has been well documented how language‐specific cues may be used for word segmentation. Here, we investigate what role a language‐independent phonological universal, the sonority sequencing principle (SSP), may also play. Participants were presented with an unsegmented speech stream with non‐English word onsets that juxtaposed adherence to the SSP with transitional probabilities. Participants favored using the SSP in assessing word‐hood, suggesting that the SSP represents a potentially powerful cue for word segmentation. To ensure the SSP influenced the segmentation process (i.e., (...) during learning), we presented two additional groups of participants with either (a) no exposure to the stimuli prior to testing or (b) the same stimuli with pauses marking word breaks. The SSP did not influence test performance in either case, suggesting that the SSP is important for word segmentation during the learning process itself. Moreover, the fact that SSP‐independent segmentation of the stimulus occurred (in the latter control condition) suggests that universals are best understood as biases rather than immutable constraints on learning. (shrink)

Cognitive Science, Volume 46, Issue 7, July 2022.

This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a (...) Frequency Spectrogram. This ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance; feelings as frequencies; and the distinctive meaning of affect as timbre. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings. (shrink)

ExcerptIn a letter to his friend and intellectual collaborator Theodor W. Adorno, on December 25, 1935, Walter Benjamin describes music as a field of inquiry “fairly remote” from his own.1 Several years later, in another letter to Max Horkheimer, he writes that the “state of musical affairs … could not be any more remote” for him.2 Yet despite these claims of unfamiliarity with aurality, there are numerous observations on acoustic phenomena throughout Benjamin's oeuvre. From his early essays on language to (...) his autobiographical studies and late works on critical historiography, Benjamin displays a keen sensitivity to sound that ranges from…. (shrink)

The use of upper limb vibration during exercise and rehabilitation continues to gain popularity as a modality to improve function and performance. Currently, a lack of knowledge of the pathways being altered during ULV limits its effective implementation. Therefore, the aim of this study was to investigate whether indirect ULV modulates transmission along spinal and corticospinal pathways that control the human forearm. All measures were assessed under CONTROL and ULV conditions while participants maintained a small contraction of the right flexor (...) carpi radialis muscle. To assess spinal pathways, Hoffmann reflexes elicited by stimulation of the median nerve were recorded from FCR with motor response amplitudes matched between conditions. An H-reflex conditioning paradigm was also used to assess changes in presynaptic inhibition by stimulating the superficial radial nerve 37 ms prior to median nerve stimulation. Cutaneous reflexes in FCR elicited by stimulation of the SR nerve at the wrist were also recorded. To assess corticospinal pathways, motor evoked potentials elicited by transcranial magnetic stimulation of the contralateral motor cortex were recorded from the right FCR and biceps brachii. ULV significantly reduced H-reflex amplitude by 15.7% for both conditioned and unconditioned reflexes. Therefore, ULV inhibits cutaneous and H-reflex transmission without influencing corticospinal excitability of the forearm flexors suggesting increased presynaptic inhibition of afferent transmission as a likely mechanism. A general increase in inhibition of spinal pathways with ULV may have important implications for improving rehabilitation for individuals with spasticity. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account of sexuality is (...) built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)