Online research in philosophy

We explore the formal foundations of recent studies comparing aural pattern recognition capabilities of populations of human and non-human animals. To date, these experiments have focused on the boundary between the Regular and Context-Free stringsets. We argue that experiments directed at distinguishing capabilities with respect to the Subregular Hierarchy, which subdivides the class of Regular stringsets, are likely to provide better evidence about the distinctions between the cognitive mechanisms of humans and those of other species. Moreover, the classes of (...) the Subregular Hierarchy have the advantage of fully abstract descriptive (model-theoretic) characterizations in addition to characterizations in more familiar grammar- and automata-theoretic terms. Because the descriptive characterizations make no assumptions about implementation, they provide a sound basis for drawing conclusions about potential cognitive mechanisms from the experimental results. We review the Subregular Hierarchy and provide a concrete set of principles for the design and interpretation of these experiments. (shrink)

The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contrasting acoustic, (...) aesthetic, and acousmatic accounts. My view is that there is some truth in all of these. I defend the claim that music is an art with a small ‘a’—a practice involving skill or craft whose ends are essentially aesthetic, that especially rewards aesthetic attention—whose material is sounds exhibiting tonal organization. But acoustic and acousmatic accounts help to distinguish between music and non-musical soundart, since music must have a preponderance of tones for its material. (shrink)

Roger Penrose, in _The Emperor's New Mind_ (1989), writes about the way Mozart perceived music. Mozart did not play a piece in his mind in real time, or even speeded up, but could hold it before him all at once. We all do this, although usually for much shorter riffs than entire symphonies. I have argued that the all-at-onceness of our thoughts and perceptions is at least as inexplicable as what it is like to see red; I think the (...) class='Hi'>aural/temporal all-at-onceness makes the point at least as vividly as the visual/spatial all-at-onceness of the curl of smoke in an art nouveau poster. (shrink)

Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own meta-logic. (...) Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.

The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries. Agnew persuasively connects the English traveler and music scholar Charles Burney with the (...) ancient myth of Orpheus. She uses Burney as a guide through wide-ranging discussions of eighteenth-century musical travel, views on music's curative powers, interest in non-European music, and concerns about cultural identity. Arguing that what people said about music was central to some of the great Enlightenment debates surrounding such issues as human agency, cultural difference, and national identity, Agnew adds a new dimension to postcolonial studies, which has typically emphasized the literary and visual at the expense of the aural. She also demonstrates that these discussions must be viewed in context at the era's broad and well-entrenched transnational network, and emphasizes the importance of travel literature in generating knowledge at the time. A new and radically interdisciplinary approach to the question of the power of music - its aesthetic and historical interpretations and political uses - Enlightenment Orpheus will appeal to students and scholars in historical musicology, ethnomusicology, German studies, eighteenth-century history, and comparative studies. (shrink)

No Íon, a autoridade e a sabedoria de poetas e rapsodos são confrontadas por meios indiretos. O caráter oblíquo dessa estratégia impede o acesso direto ao conteúdo do diálogo e provoca inúmeros equívocos de leitura. Um fato contextual estimula mais ainda leituras equivocadas. A poesia tratada no Íon difere muito da forma como nós, modernos, a entendemos. Na Antiguidade grega, de base aural, a poesia era o modo privilegiado de conservação da tradição herdada, e permaneceu exercendo essa função capital (...) até mesmo quando a escrita passou a desempenhar papel relevante na forma de composição e transmissão cultural. Neste contexto, o rapsodo representa uma autoridade que cobre praticamente todos os campos do saber. Autoridade enciclopédica, contra a qual Platão travou uma guerra não sem ambiguidades. O presente artigo busca revelar a motivação profunda que anima o Íon: a contraposição entre dois modos de comunicação, o da poesia e o da filosofia. Defende, ainda, que Platão, ao atacar a performance poética, busca, além de rejeitá-la, substituí-la pelo élenkhos socrático como modo de comunicação ideal para instrução e guia da vida humana. (shrink)

Using Jean-Luc Nancy's productive concept of resonant listening, this article interrogates silence in the films of Michael Haneke. Arguing for a kind of open, resonating and sonorous form of philosophic listening, Nancy articulates the distinctions among listening, hearing and understanding. Working from these concepts, this article considers the particular form of resonance in the instance of cinematic silence and in particular the use of silence in the philosophically engaged cinema of Haneke.

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the ‘I’ of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancière, Virilio, Ziarek, and Žižek to explore contemporary art (post-Situationism) and visual (...) cultural education. jagodzinski develops the concept of an ‘avant-garde without authority,’ ‘self-refleXion’ and ‘in(design)’ to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek’s ‘force’ of art. (shrink)

In Polanyian Meditations: In Search of a Post-Critical Logic, Poteat draws upon Polanyi to explicate what he calls an “oral/aural logic,” which he thinks informs Polanyi’s thought and which is different from the conventional “visual logic” of the Western philosophical tradition, and then argues that this oral/aural logic is implied in the Hebraic understanding of reality. This idea is a key to understanding the genesis of the modern worldview, which can be conceptualized as involving certain elements of the (...) Hebraic worldview distorted byan excessively visual orientation. (shrink)

Patient To examine neural responses to aurally-presented sentences, a sparse imaging technique was used to minimize interference from scanner noise. The patient was played a single sentence (or noise-equivalent) in the 7.4s silent period before a single 1.6s scan with stimulus timing jittered relative to scan onset. There were 118 spoken sentences trials, 59 signal correlated noise trials, and an additional 60 silent trials for the purpose of monitoring data quality. The signal correlated noise stimuli had the same duration, spectral (...) profile and amplitude envelope as the original speech, but were entirely unintelligible (S1). The experiment was divided into three sessions of 79 trials with events pseudo-randomly ordered within each scanning session. The sentences were presented using a MRI compatible auditory stimulusdelivery system (Resonance Technology, Northridge, CA), with insert earplugs to further attenuate scanner noise. DMDX software running on a Windows XP PC was used to present the stimulus items. (shrink)

Over the last two decades, Science Studies has produced a fascinating body of literature on visual representation. A crucial part of that literature has explored the materiality of visual representation, primarily the “rendering practices” that make visual representations possible and embody epistemic virtues attached to the scientific self. This essay explores the practices and capacities that support visual representation, but it looks to a seemingly unlikely place for inspiration—the growing literature on the uses of sound in science. My interest here (...) is to see how that literature points us to a view of sound as an epistemic resource that supports the visual. If there is a visual emphasis in modern science, it is made possible by a set of material practices that are only partly visual. As such, this essay suggests how the history of visual representations in science might be bound up with a history of scientific aurality. (shrink)