The aim of the paper is to present and analyze problems associated with the mechanisms of auditory perception (especially those responsible for speech perception), their specific disorders and functions. I discuss research on speech perception in the broader theoretical context of the mechanistic model of scientific explanation and the perspective of cognitive implantology that explores the possibilities for building hybrid auditory systems.

According to sensorimotor theory perceiving is a bodily skill involving exercise of an implicit know-how of the systematic ways that sensations change as a result of potential movements, that is, of sensorimotor contingencies. The theory has been most successfully applied to vision and touch, while perceptual modalities that rely less on overt exploration of the environment have not received as much attention. In addition, most research has focused on philosophically grounding the theory and on psychologically elucidating sensorimotor laws, but the (...) theory’s ramifications for neuroscience still remain underexamined. Here we sketch the beginnings of a research program that could address these two outstanding challenges in terms of auditory perception. We review the neuroscience literature on passive listening, which is defined as listening without overt bodily movement, and conclude that sensorimotor theory provides a unique perspective on the consistent finding of motor system activation. In contrast to competing theories, this activation is predicted to be involved not only in the perception of speech- and action-related sounds, but in auditory perception in general. More specifically, we propose that the auditory processing associated with supplementary motor areas forms part of the neural basis of the exercise of sensorimotor know-how: these areas’ recognized role in facilitating spontaneous motor responses to sound and supporting flexible engagement of sensorimotor processes to guide auditory experience and enable auditory imagery, can be understood in terms of two key characteristics of sensorimotor interaction, its “alerting capacity” and “corporality”, respectively. We also highlight that there is more to the inside of the body than the brain: there is an opportunity to develop sensorimotor theory into new directions in terms of the still poorly understood active processes of the peripheral auditory system. (shrink)

This paper proposes some guidelines for the undeveloped discussion of auditory epistemology. Auditory epistemology is an approach concerned with the perceptual basis for knowledge and belief, specifically around audition. The article pursues two goals. Firstly, it claims that addressing auditory perception from the viewpoint of epistemology is more fruitful than the discussion on phenomenology which has thus far dominated the debates in the literature on sound. Secondly, it elaborates a concrete proposal pertaining to the cooperation of sense-modalities. (...) In so doing, a model for “Perceptual Coherence” is suggested. The first section of the paper critically reviews the problem of perception as it is usually understood in traditional epistemology. An ensuing section outlines the model of perceptual coherence. (shrink)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we (...) hear sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

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.

Cet ouvrage est dans la continuite de la reflexion de Santiago Espinosa, qui etend ses vues sur la musique a l'art en general, et qui aborde des sujets plus vastes comme la science physique (l'auteur fait observer que les scientifiques contemporains adoptent la perspective critiquee des lors qu'ils cherchent a faire une image de l'univers). A cette perspective, Espinosa oppose la perception auditive, plus prompte a saisir le mouvement et le changement, non susceptible par surcroit d'en faire une image ou (...) meme une chose. Il fait remarquer l'interet de certains philosophes pour l'intuition du silence de l'interpretation, aucune chose ne pouvant etre le signe (ou l'image) d'une autre, n'etant que ce qu'elle est, ou plutot devient. Il revient enfin a la mise en rapport de la perspective imaginative et les affections de l'angoisse, la melancolie et la nausee afin de montrer que ces dernieres relevent parfois de l'illusion que les choses semblent, dans la mesure ou elles sont prises pour des images, se repeter sans cesse. Pour l'ouie, sensible a la singularite de ce qui passe, tout ce qui arrive est en revanche d'une surprenante nouveaute, ce qui, pour l'affirmateur de la realite, peut se reveler etre aussi une source de joie. (shrink)

We can easily discriminate self-produced from externally generated sensory signals. Recent studies suggest that the prediction of the sensory consequences of one’s own actions made by forward model can be used to attenuate the sensory effects of self-produced movements, thereby enabling a differentiation of the self-produced sensation from the externally generated one. The present study showed that attenuation of sensation occurred both when participants themselves performed a goal-directed action and when they observed experimenter performing the same action, although they clearly (...) reported that the tones were produced by other during action observation and by themselves during their own action. These results suggest that sensory prediction of action modulates ongoing auditory processing irrespective of who produces the sounds and that the explicit judgment of agency does not necessarily rely on the same mechanisms on which implicit perceptual measures such as sensory attenuation rely. (shrink)

Summary Recent studies explored the contribution of auditory information in ecological contexts to biological motion perception and its influence on movement execution. This work provides an overview of the most influential scientific contributions in this domain and analyzes the most recent findings, both in sport and motor rehabilitation. Overall, the literature indicates that ecological sounds associated with movements are relevant for perceiving some important features of sport movements. Auditory information is also relevant during performance execution, and can be (...) used to create training protocols. Also, similarly auditory information can be used in clinical contexts to provide rhythmic information to enhance the efficacy of motor rehabilitation protocols. In conclusion, we can say that the role of ecological sounds of movements is examined in conveying complexity of information from a gestalt perspective. (shrink)

Jean Gabbert Harrell argues persuasively in her book, Soundtracks, that aesthetic theories have often been deficient because they have tried to be too inclusive. That is, the experience of music is profoundly different from that of painting, for instance, and that it is wrong to compare them. Her reasoning for this viewpoint is based in part on a recognition that auditory perception is fully developed in humans prior to either visual or significant tactual perception, bringing a genetic, developmental aspect (...) to her discussion. In its genetic orientation toward sensory development and its concentration exclusively on auditory perception, Soundtracks provides an argument against the relativism of aesthetic judgment in auditory art that has never before been suggested. (shrink)

Audiovisual interaction in speech perception is well defined in adults. Despite the large body of evidence suggesting that children are also sensitive to visual input, very few empirical studies have been conducted. To further investigate whether visual inputs influence auditory perception of phonemes in preschoolers in the same way as in adults, we conducted an audiovisual identification test. The auditory stimuli were presented either in an auditory condition only or simultaneously with a visual presentation of the articulation (...) of the vowel /e/ or /ø/. The results suggest that, although all participants experienced visual influence on auditory perception, substantial individual differences exist in the 5- to 6-year-old group. While additional work is required to confirm this hypothesis, we suggest that auditory and visual systems are developing at that age and that multisensory phonological categorization of the rounding contrast took place only in children whose sensory systems and sensorimotor representations were mature. (shrink)

This chapter, which describes the spatiality of conscious phenomena, such as colours and sounds, addresses James Gibson’s ecological approach to confirm and develop further the Husserlian phenomenological view of colours and sounds. The ecological approach to perception could be regarded as an attempt to undertake empirical research corresponding to the phenomenological insight of perception. In this context, in addition to the Husserlian concept of “adumbration” and the Gibsonian concept of “ecological optics,” the differentiation of various modes of colour appearances, which (...) David Katz explicated, is focused on, developed and applied further to the phenomena of sounds. On the basis of these discussions, the multi-dimensional character of colours and sounds are explicated, and traditional views on colours and sounds, which neglect this character, are criticized. The concept of multi-dimensionality discovers the remarkable diversity of the world of colours and sounds, which demonstrate the diversity and multiple dimensionality of the field of consciousness. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible form. (...) Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

While much has been written about whether visual perception is cognitively penetrable, the analogous question with respect to auditory perception has received very little attention. Here we argue that instances of top-down modulation of auditory processing, although extensive, do not constitute cases of cognitive penetration of auditory perception since the changes in the phenomenology of auditory perception caused by top-down influences cannot plausibly be attributed to the listeners’ discursive thoughts.

It might be suggested that in auditory experience elements of the material world are not apparent to us in the way they are in vision and touch, and that this constitutes a shortcoming in the kind of cognitive contact with the world provided by auditory perception. I develop this suggestion, and then set out a way of thinking about the appearances of sound‐producing events that might provide a response.1Thanks to James Stazicker for very helpful comments and suggestions.

It has been well documented, and fairly well known, that concomitant with an increase in chronological age is a corresponding increase in sensory impairment. As most people realize, our hearing suffers as we get older; hence, the increased need for hearing aids. The first portion of the present paper is how the change in age apparently affects auditory judgments of sound source position. A summary of the literature evaluating the changes in the perception of sound source location and the (...) perception of sound source motion as a function of chronological age is presented. The review is limited to empirical studies with behavioral findings involving humans. It is the view of the author that we have an immensely limited understanding of how chronological age affects perception of space when based on sound. In the latter part of the paper, discussion is given to how auditory spatial perception is traditionally conducted in the laboratory. Theoretically, beneficial reasons exist for conducting research in the manner it has been. Nonetheless, from an ecological perspective, the vast majority of previous research can be considered unnatural and greatly lacking in ecological validity. Suggestions for an alternative and more ecologically valid approach to the investigation of auditory spatial perception are proposed. It is believed an ecological approach to auditory spatial perception will enhance our understanding of the extent to which individuals perceive sound source location and how those perceptual judgments change with an increase in chronological age. (shrink)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains (...) controversial in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger than just that (...) of an intentional object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

A basic function of cognition is to detect regularities in sensory input to facilitate the prediction and recognition of future events. It has been proposed that these implicit expectations arise from an internal predictive coding model, based on knowledge acquired through processes such as statistical learning, but it is unclear how different types of statistical information affect listeners’ memory for auditory stimuli. We used a combination of behavioral and computational methods to investigate memory for non-linguistic auditory sequences. Participants (...) repeatedly heard tone sequences varying systematically in their information-theoretic properties. Expectedness ratings of tones were collected during three listening sessions, and a recognition memory test was given after each session. Information-theoretic measures of sequential predictability significantly influenced listeners’ expectedness ratings, and variations in these properties had a significant impact on memory performance. Predictable sequences yielded increasingly better memory performance with increasing exposure. Computational simulations using a probabilistic model of auditory expectation suggest that listeners dynamically formed a new, and increasingly accurate, implicit cognitive model of the information-theoretic structure of the sequences throughout the experimental session. (shrink)