We provide some meta-theoretical constraints for the evaluation of a-spatial theories of sounds and auditory perception. We point out some forms of spatial content auditory experience can have. If auditory experience does not necessarily have a rich egocentric spatial content, it must have some spatial content for the relevant mode of perception to be recognizably auditory. An auditory experience devoid of any spatial content, if the notion makes sense at all, would be very different from (...) the auditory experiences we actually enjoy. This is enough to dismiss current a-spatial theories of auditory perception. As a consequence, our initial taxonomy of proximal, medial, and distal theories, as well as our phenomenological argument in favor of distal theories, are still topical. (shrink)

To what extent is the choice of what to say driven by seemingly irrelevant cues in the visual world being described? Among such cues, how does prior description affect how we process spatial scenes? When people describe where objects are located their use of spatial language is often associated with a choice of reference frame. Two experiments employing between-participants designs (N = 490) examined the effects of visual cueing and previous description on reference frame choice as reflected in (...) spatial prepositions (in front of, to the left of, etc.) to describe pictures of object pairs. Experiment 1 examined the effects of visual and linguistic cues on spatial description choice through movement of object(s) in spatial scenes, showing sizeable effects of visual cueing on reference frame choice. Experiment 2 monitored eye movements of participants following a linguistic example description, revealing two findings: eye movement “signatures” associated with distinct reference frames as expressed in language, and transfer of these eye movement patterns just prior to spatial description for different (later) picture descriptions. Both verbal description and visual cueing similarly influence language production choice through manipulation of visual attention, suggesting a unified theory of constraints affecting spatial language choice. (shrink)

Spatial skills predict important life outcomes, such as mathematical achievement or entrance into Science, Technology, Engineering, and Mathematics disciplines. Children significantly vary in their spatial performance even before they enter formal schooling. One correlate of children's spatial performance is the spatial language they produce and hear from others, such as their parents. Because the emphasis has been on spatial language, less is known about the role of hand gestures in children's spatial development. Some children (...) are more likely to fall behind in their spatial skills than others. Children born premature constitute such a risk group. Here, we compared performance of term and preterm-born children on two non-verbal spatial tasks—mental transformation and block design. We also examined relations of children's performance on these tasks to parental spatial language and gesture input and their own production of spatial language and gesture during an independent puzzle play interaction. We found that while term and preterm-born children as a group did not differ in the mental transformation or block design performance, children varied widely in their performance within each group. The variability in mental transformation scores was predicted by both a subset of spatial words and all spatial gestures children produced. Children's spatial language and gesture were in turn related to their parents' spatial language and gesture. Parental spatial language and gesture had an indirect relation on children's mental transformation, but not block design, scores via children's spatial language, and gesture use. Overall, results highlight the unique contributions of speech and gesture in communicating spatial information and predicting children's spatial performance. (shrink)

The spatial misrepresentation objection (SMO) against the wave theory of sound argues that if sounds are compression waves, then our auditory experiences are massively illusory for not representing sounds as propagating in the medium. Thus, it claims that the wave theory should be rejected because it is unreasonable to accept such an error theory of hearing. This paper presents a metaphysics of compression waves to show that the wave theory correctly implies that we cannot hear sounds as propagating. (...) Moreover, I argue that the SMO is based on a mischaracterisation of the phenomenology of auditory experiences. A new conception of auditory perception is then proposed to explain how a sound source and its compression wave are both represented in the same auditory experience. Finally, I compare my view with some alternative theories of sound. Overall, it is found that the SMO is more of an objection against the traditional conception of hearing than a challenge to the wave theory of sound. (shrink)

Hearing and auditory perception are rapidly developing topics in the philosophy of perception. Recent work has focused on characterizing what we hear and on similarities and differences between audition and other modalities. Future work should address how theorizing about audition impacts theorizing about perception more generally. This entry concerns questions about the objects and contents of hearing. It includes discussion of the spatial content of audition, of the role of time and pitch in the individuation of auditory (...) objects, and of audition's role in the perception of speech. (shrink)

Visual information follows at least two branches in the human nervous system, following a common input stage: a cognitive ''what'' branch governs perception and experience, while a sensorimotor ''how'' branch handles visually guided behavior though its outputs are unconscious. The sensorimotor system is probed with an isomorphic task, requiring a 1:1 relationship between target position and motor response. The cognitive system, in contrast, is probed with a forced qualitative decision, expressed verbally, about the location of a target. Normally, the cognitive (...) system is influenced by context-induced illusions of visual direction, while the sensorimotor system is not. Here, we inquire whether the process of making a spatially based decision is critical in forcing subjects to use the information in the cognitive system for spatial tasks. Subjects hear a tone that determines whether they jab an ''X'' or an ''O'' with the forefinger. Despite making a decision about which target to contact, the jab is not influenced by the position of a surrounding frame, indicating that choice can be handled within the context-insensitive sensorimotor system. (shrink)

ABSTRACT The paper examines the little-known experiments in audition performed by the prominent experimental physiologist Jan Purkyně in Prague in the 1850s. Purkyně’s original research on spatial hearing and auditory attention is studied against the backdrop of the nineteenth century research on binaural audition and the nascent field of psychophysics. The article revolves around an acoustic research instrument of Purkyně’s own making, the opistophone, in which hearing became both an object of investigation and an instrument of scientific (...) inquiry. It argues that Purkyně’s understanding of auditory attention, which combined acoustic stimulation, physiological conditions, and sensory training, preceded a similar approach to hearing in psychophysical debates in the second half of the nineteenth century. Purkyně was the first scholar to experimentally investigate intracranial sounds, which he studied in his experiments with the inmates of the Prague Institute of Deaf-Mutes. This research on intracranial hearing was part of Purkyně’s study of so-called organic subjectivity, in which subjective hearing experience was interpreted as the result of the interaction between individual perception and objective acoustic phenomena. (shrink)

A broad range of behavior is associated with crossmodal perception in the arts. Philosophical explanations of crossmodal perception often make reference to neuroscientific discussions of multisensory integration in selective attention. This research demonstrates that superior colliculus plays a regulative role in attention, integrating unique modality specific visual, auditory, and somatosensory spatial maps into a common spatial framework for action, and that motor skill, emotional salience, and semantic salience contribute to the integration of auditory, visual, and somatosensory information in (...) ordinary perceptual contexts. I present a model for multisensory integration in our engagement with artworks derived from a diagnostic recognition framework for object recognition and a biased competition model for selective attention. The proposed model attributes a role to superior colliculus in a broader fronto-parietal attentional network that integrates sensory information, primes perceptual systems to the expectation of stimulus features salient to particular sensorimotor or cognitive tasks at particular locations, and inhibits the perception of task irrelevant distracters. I argue that this model demonstrates that crossmodal effects are the rule not the exception in perception and discuss ways in which it explains a range of crossmodal effects in our engagement with pictures, dance, and musical performances. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology (...) of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

Telepsychiatry has long been discussed as a supplement to or substitute for face-to-face therapeutic consultations. The current pandemic crisis has fueled the development in an unprecedented way. More and more psychiatric consultations are now carried out online as video-based consultations. Treatment results appear to be comparable with those of face-to-face care in terms of clinical outcome, acceptance, adherence and patient satisfaction. However, evidence on videoconferencing in a variety of different fields indicates that there are extensive changes in the communication behaviour (...) in online conversations. We hypothesise that this might impact ethically relevant aspects of the therapeutic relationship, which plays a prominent role in psychiatry. In this paper, we review effects of video-based consultations on communication between therapists and patients in psychiatry. Based on a common understanding of video-based consultations as changing the lived experience of communication, we categorise these effects according to sensory, spatial and technical aspects. Departing from a power-based model of therapeutic relationships, we then discuss the ethical significance of this changed communication situation, based on dimensions of respect for autonomy, lucidity, fidelity, justice and humanity. We conclude that there is evidence for ethically relevant changes of the therapeutic relationship in video-based telepsychiatric consultations. These changes need to be more carefully considered in psychiatric practice and future studies. (shrink)

This paper reports on a weekend performance event at the Tate Modern that explored how the senses of sound and movement can be used to apprehend geometrical and topological shapes and mathematical concepts. The sound sculpture Knots and Donuts spatialized sound and sonified space. It attuned the ‘mind’s ear’ and the auditory imagination to conceive of a Borromean Knot and a torus within an immersive three-dimensional sound field. Through dance movement, the choreography of Ordinal 5 actualized the specific mathematical entity (...) as understood in category theory. Both parts of the programme are considered as a performance as research experiment with an audience. Its aim was to understand how the sensory experience of the embodied mind might provide a basis of rationality in which meaning is not restricted to text and image, that is, an embodied topology. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as richly (...) class='Hi'>spatial as visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

There has long been interest in why languages are shaped the way they are, and in the relationship between sign language and gesture. In sign languages, entity classifiers are handshapes that encode how objects move, how they are located relative to one another, and how multiple objects of the same type are distributed in space. Previous studies have shown that hearing adults who are asked to use only manual gestures to describe how objects move in space will use gestures (...) that bear some similarities to classifiers. We investigated how accurately hearing adults, who had been learning British Sign Language for 1–3 years, produce and comprehend classifiers in locative and distributive constructions. In a production task, learners of BSL knew that they could use their hands to represent objects, but they had difficulty choosing the same, conventionalized, handshapes as native signers. They were, however, highly accurate at encoding location and orientation information. Learners therefore show the same pattern found in sign-naïve gesturers. In contrast, handshape, orientation, and location were comprehended with equal accuracy, and testing a group of sign-naïve adults showed that they too were able to understand classifiers with higher than chance accuracy. We conclude that adult learners of BSL bring their visuo-spatial knowledge and gestural abilities to the tasks of understanding and producing constructions that contain entity classifiers. We speculate that investigating the time course of adult sign language acquisition might shed light on how gesture became conventionalized during the genesis of sign languages. (shrink)

Although many classical works on preaching, especially within the reformed tradition, would take as point of departure the question of understanding, that is, how to do exegesis of a biblical text in such a manner that it makes sense to present-day listeners of sermons, this article opts for an aesthetical approach, which does not exclude the question of intelligibility, but places it within aesthetical frameworks, such as our multi-sensing of space and time. Preaching, in my opinion, entails more than just (...) speaking, hearing and understanding. It calls, inter alia, for a multi-sensory discovery of space and time, within space and time. This article reflects specifically on the spatial dimension of preaching pertaining to experiences of being, or coming, home and, conversely, leaving home, that is, experiencing liminality, as not-being-at-home. (shrink)

Hearing loss in old age, which often goes untreated, has far-reaching consequences. Furthermore, reduction of cognitive abilities and dementia can also occur, which also affects quality of life. The aim of this study was to investigate the hearing performance of seniors without hearing complaints with respect to speech perception in noise and the ability to localize sounds. Results were tested for correlations with age and cognitive performance. The study included 40 subjects aged between 60 and 90 years (...) with not self-reported hearing problems. The subjects were screened for dementia. Audiological tests included pure-tone audiometry and speech perception in two types of background noise which was either co-located or spatially separated from the target speech. Sound localization ability was assessed and hearing performance was self-evaluated by a questionnaire. Speech in noise and sound localization was compared with young normal hearing adults. Although considering themselves as hearing normal, 17 subjects had at least a mild hearing loss. There was a significant negative correlation between hearing loss and dementia screening score. Speech perception in noise decreased significantly with age. There were significant negative correlations between speech perception in noise and DemTect score for both spatial configurations. Mean SRTs obtained in the co-located noise condition with amplitude-modulated noise were on average 3.1 dB better than with continuous noise. This gap-listening effect was severely diminished compared to a younger normal hearing subject group. In continuous noise, spatial separation of speech and noise led to better SRTs compared to the co-located masker condition. SRTs in MSNF deteriorated in modulated noise compared to continuous noise by 2.6 dB. Highest impact of age was found for speech perception scores using noise stimuli with temporal modulation in binaural test conditions. Mean localization error was in the range of young adults. Mean amount of front/back confusions was 11.5% higher than for young adults. Speech perception tests in the presence of temporally modulated noise can serve as a screening method for early detection of hearing disorders in older adults. This allows for early prescription of hearing aids. (shrink)

IntroductionThe present study aimed to evaluate the effects of the Active Communication Education program on the social/emotional impacts of hearing loss in a group of older adults with a cochlear implant.DesignProspective cohort study design, with a “within-subject” control procedure.Study SampleTwenty adults over-65 post-lingually deafened CI users. All subjects were required to be native Italian speakers, to have normal cognitive level, have no significant psychiatric conditions and/or diagnosed incident dementia, and used CI for at least 9 months.Materials and MethodsTwenty participants (...) were assessed using the Hearing Handicap Inventory for the Elderly, the Geriatric Depression Scale, and the Speech, Spatial, and Qualities of Hearing Scale before, during, and after ACE program, with a one and 6-month follow up. The cognitive and audiological evaluation was carried out before commencing the ACE program.ResultsThe ACE program had a positive impact by reducing HL’s social/emotional effects. Participants benefited from a rehabilitative approach by improving multilevel skills: comprehension of audiological and hearing dimensions, acquisition of communicative, pragmatic and problem-solving strategies, and interaction and sharing of experiences with peers.ConclusionAlthough targeting the older adults with moderate HL, the ACE program also seemed to benefit older adult CI users. An improvement in social and emotional adaptation to hearing difficulties can, in turn, significantly promote optimal use of CI in the older adults, thereby possibly reducing the risk of losing motivation and engagement in device use and in rehabilitation protocols. (shrink)

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 scene analysis is an elementary aspect of music perception, yet only little research has scrutinized auditory scene analysis under realistic musical conditions with diverse samples of listeners. This study probed the ability of younger normal-hearing listeners and older hearing-aid users in tracking individual musical voices or lines in JS Bach's The Art of the Fugue. Five-second excerpts with homogeneous or heterogenous instrumentation of 2–4 musical voices were presented from spatially separated loudspeakers and preceded by a short cue (...) for signaling the target voice. Listeners tracked the cued voice and detected whether an amplitude modulation was imposed on the cued voice or a distractor voice. Results indicated superior performance of young normal-hearing listeners compared to older hearing-aid users. Performance was generally better in conditions with fewer voices. For young normal-hearing listeners, there was interaction between the number of voices and the instrumentation: performance degraded less drastically with an increase in the number of voices for timbrally heterogeneous mixtures compared to homogeneous mixtures. Older hearing-aid users generally showed smaller effects of the number of voices and instrumentation, but no interaction between the two factors. Moreover, tracking performance of older hearing aid users did not differ when these participants did or did not wear hearing aids. These results shed light on the role of timbral differentiation in musical scene analysis and suggest reduced musical scene analysis abilities of older hearing-impaired listeners in a realistic musical scenario. (shrink)

The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden’s (the host of CBS Network’s Late Late Show) Carpool Karaoke, this paper addresses the issues of (...) directly lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one’s sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature. (shrink)

In this article, we will consider how far we might be said to be active in forming our beliefs; in particular, we will ask to what extent we can be said to be free in believing what we want to believe. It is clear that we ought to believe only what is really so, at least in so far as it lies in our power to determine this, but reflection shows that, regrettably, we do not confine our beliefs to what (...) we have evidence for, nor do we always believe in accordance with the evidence we do have. So it is natural to conclude that non-intellectual factors may be at work here; such, at least, was the view of Descartes, who attributed error to the influence of our will in leading us to assent to judgments which go beyond the evidence presented by our infallible intellect. This view has some initial plausibility when we think of cases in which emotional considerations lead people to take up and genuinely believe things they have no evidence for, but it is not a view which has received much support from modern philosophers. So, in Part 1 we will look at criticisms levelled against Descartes' view by J. L. Evans, and in Part 2 we will see how far Descartes can be defended. Our conclusions here will lead us to give in Part 3 a general account of the influence of the will in beliefs. We will suggest that we are always responsible for our explicit beliefs, even though it is not true that we can simply believe what we like. Thus we will reject the idea that a man can consciously know something, and at the same time, by will power, believe the opposite. Belief is not then totally free, but we will argue that people do sometimes form beliefs which go against what they should and could believe, and that this can in a way be put down to the influence of the will. Finally we will consider some of the ways in which it is possible to influence our beliefs by willed acts over a long period of time, though this is not the way that we clami that the will might be said to play a part in every judgment that we make. (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

ABSTRACT Popper's attitude to traditions is fundamentally rationalistic. He analyses traditions, along with other institutions and practices, in terms of their efficiency in promoting goals which can be specified independently of the traditions themselves. Hayek, by contrast, looks at traditions in terms of their contributions to the survival of the culture in which they are embedded, something whose evaluation may be opaque even to people within the culture. Both these approaches are flawed compared to Oakeshott's insistence that traditions are not (...) goal‐oriented, and that goals cannot be specified independently of agents’forms of life. Oakeshott's views constitute a via media between Popperian rationalism and Hayekian anti‐rationalism. (shrink)

We spent a wonderful morning in the van Gogh gallery in Amsterdam. Of course we knew all the paintings, we had seen them all in reproduction, and the building was more like a bank vault than a setting for art. But what art! At first sight how small and uniform the paintings were in reality: yet every blade of grass, every flower in a field, every olive tree, every vibration in the sky, every patch of colour, every brush stroke, testified (...) to life and to a life vibrating beneath the surface form. In a true sense, an artist inspired, an artist breaking convention, artistic and social, but nevertheless an artist transforming life with a vision of the enhancement of life, a vision inviting each one of us to look again at the natural forms around us, to feel the spirit or the gods dwelling in them, a vision of enchantment and of humanity in a disenchanted world. Art—painting—can, then, be a source of spiritual nourishment as Kant and Schiller and Ruskin in their different ways thought it should be. (shrink)

Even today, apologists for modernist and post-modernist architecture frequently appeal to what, following Sir Karl Popper, I will call historicist arguments. Such arguments have a particular poignancy when they are used to justify the replacement of some familiar part of an ancient city with some intentionally untraditional structure; as, for example, when a familiar nineteenth century block of offices in a prime city site is swept away to make room for something supposedly more fitting to the ‘new millennium’, a ‘twentieth (...) century contribution to monumental architecture’, a building ‘of substantial importance to the present age’. Similarly, those architects or consumers of architecture who fail to conform to whatever stylistic demands the age is held to demand are marginalized in many supposedly serious discussions of architecture, and made to feel out of place and out of time. (shrink)

ABSTRACT Popper's attitude to traditions is fundamentally rationalistic. He analyses traditions, along with other institutions and practices, in terms of their efficiency in promoting goals which can be specified independently of the traditions themselves. Hayek, by contrast, looks at traditions in terms of their contributions to the survival of the culture in which they are embedded, something whose evaluation may be opaque even to people within the culture. Both these approaches are flawed compared to Oakeshott's insistence that traditions are not (...) goal‐oriented, and that goals cannot be specified independently of agents’forms of life. Oakeshott's views constitute a via media between Popperian rationalism and Hayekian anti‐rationalism. (shrink)

Anthony O'Hear; Academic Freedom and the University, Journal of Philosophy of Education, Volume 22, Issue 1, 30 May 2006, Pages 13–21, https://doi.org/10.1111/j.

In this controversial new book O'Hear takes a stand against the fashion for explaining human behavior in terms of evolution. He contends that while the theory of evolution is successful in explaining the development of the natural world in general, it is of limited value when applied to the human world. Because of our reflectiveness and our rationality we take on goals and ideals which cannot be justified in terms of survival-promotion or reproductive advantage. O'Hear examines the nature of human (...) self-consciousness, and argues that evolutionary theory cannot give a satisfactory account of such distinctive facets of human life as the quest for knowledge, moral sense, and the appreciation of beauty; in these we transcend our biological origins. It is our rationality that allows each of us to go beyond not only our biological but also our cultural inheritance: as the author says in the Preface, "we are prisoners neither of our genes nor of the ideas we encounter as we each make our personal and individual way through life.". (shrink)

Anthony O'Hear; VI*—Guilt and Shame as Moral Concepts, Proceedings of the Aristotelian Society, Volume 77, Issue 1, 1 June 1977, Pages 73–86, https://doi.org/10.