This paper seeks to redress a predominant focus on speaking over listening in theorising the Community of Philosophical Inquiry (CPI). Frequently, where listening is discussed, the focus is on encouraging children to be active listeners. This means of describing the listening that occurs in the CPI has lost some efficacy as the language of active listening has been co-opted as a management technique focussed on making the speaker feel heard with little emphasis on the intentions or (...) outcomes for the listener. Thus, on a cynical reading, ‘active listening’ can become reduced to performative physical indicators of listening (such as eye contact and body language), overlooking the ethical-epistemic commitments of the genuinely engaged listener. Here, rather than formulating new terms to describe listening, I propose Iris Murdoch’s account of attentiveness as an apt descriptor of the effects of truly involved listening on the self that seeks to attend to the unfolding content of the CPI and as a way of characterising the qualities of a CPI where such listening is achieved. Here, attentiveness is presented as a concept that captures the unique facets of listening as a challenge to individual participants concerned with contributing effectively to the dialogue as it unfolds within the CPI and those facilitating the dialogue. The paper briefly explores some implications for practice contexts, proposing three interventions to cultivate attentiveness in CPI participants and in facilitators (especially if they are undergraduate or postgraduate in Philosophy because philosophical identities might become a barrier to attentiveness). At its conclusion, this paper repositions listening in the CPI as a productive risk with a particular form of ‘aliveness’ aptly captured by the term attention. (shrink)

Listeners can attend to and track instruments or singing voices in complex musical mixtures, even though the acoustical energy of sounds from individual instruments may overlap in time and frequency. In popular music, lead vocals are often accompanied by sound mixtures from a variety of instruments, such as drums, bass, keyboards, and guitars. However, little is known about how the perceptual organization of such musical scenes is affected by selective attention, and which acoustic features play the most important role. To (...) investigate these questions, we explored the role of auditory attention in a realistic musical scenario. We conducted three online experiments in which participants detected single cued instruments or voices in multi-track musical mixtures. Stimuli consisted of 2-s multi-track excerpts of popular music. In one condition, the target cue preceded the mixture, allowing listeners to selectively attend to the target. In another condition, the target was presented after the mixture, requiring a more “global” mode of listening. Performance differences between these two conditions were interpreted as effects of selective attention. In Experiment 1, results showed that detection performance was generally dependent on the target’s instrument category, but listeners were more accurate when the target was presented prior to the mixture rather than the opposite. Lead vocals appeared to be nearly unaffected by this change in presentation order and achieved the highest accuracy compared with the other instruments, which suggested a particular salience of vocal signals in musical mixtures. In Experiment 2, filtering was used to avoid potential spectral masking of target sounds. Although detection accuracy increased for all instruments, a similar pattern of results was observed regarding the instrument-specific differences between presentation orders. In Experiment 3, adjusting the sound level differences between the targets reduced the effect of presentation order, but did not affect the differences between instruments. While both acoustic manipulations facilitated the detection of targets, vocal signals remained particularly salient, which suggest that the manipulated features did not contribute to vocal salience. These findings demonstrate that lead vocals serve as robust attractor points of auditory attention regardless of the manipulation of low-level acoustical cues. (shrink)

The majority of evidence on social anxiety -linked attentional biases to threat comes from research using facial expressions. Emotions are, however, communicated through other channels, such as voice. Despite its importance in the interpretation of social cues, emotional prosody processing in SA has been barely explored. This study investigated whether SA is associated with enhanced processing of task-irrelevant angry prosody. Fifty-three participants with high and low SA performed a dichotic listening task in which pairs of male/female voices were presented, (...) one to each ear, with either the same or different prosody. Participants were instructed to focus on either the left or right ear and to identify the speaker’s gender in the attended side. Our main results show that, once attended, task-irrelevant angry prosody elicits greater interference than does neutral prosody. Surprisingly, high socially anxious participants were less prone to distraction from attended-angry prosody than were low socially anxious individuals. These findings emphasise the importance of examining SA-related biases across modalities. (shrink)

This article explores negotiations over the humanistic versus mechanized components of care through an ethnographic account of digital phenotyping research. I focus on a US-based team of psychiatric and engineering professionals assembling a smartphone application that they hope will analyze minute changes in the sounds of speech during phone calls to predict when a user with bipolar disorder will have a manic or depressive episode. Contrary to conventional depictions of psychiatry as essentially humanistic, the discourse surrounding digital phenotyping positions the (...) machine as a necessary addition to mental health care precisely because of its more-than-human sensory, attentional capacities. The bipolar research team likewise portrays their app as capable of pinpointing sonic signs of mental illness that humans, too distracted by semantic meaning, otherwise ignore. Nevertheless, the team members tasked with processing the team’s data must craft and perform a selectively attentive machinic subject position, which they call “listening like a computer”: a paradoxical mode of attention and inattention. By tracing the team’s discursive and on-the-ground enactments of care and attention as both humanistic and machinic, I tune a critical ear to the posthuman promises of digital phenotyping. (shrink)

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)

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)

The acoustic dimension of political philosophy has rarely attracted serious attention, in part because scholars have tended to assume that political theories, ideas, and concepts, exist as abstract entities that are often noiselessly communicated in written texts. And yet, the noisy communication of political ideas whether in the form of Socratic dialogues, Churchillian orations, or in the hushed tones of focus group conversations treasured by deliberative democrats today, has a rich political history and a continuing relevance. This paper will focus (...) on five performative modes for the communication of political ideas: the monologue, the dialogue, the oration, the interjection, and the noisy crowd. While this list may not be exhaustive, it will be used here as a starting point for further exploration. I will contend that in each of these performative modes, the communication of political ideas is framed by the noise of actual, or textually imagined kinds of political speech designed to underscore the validity of the ideas conveyed. One of the most important reasons for traversing this variable performative and acoustic terrain today is to enable us to hear and to listen to political speech amid the potentially polluting hum of political white noise. (shrink)

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)

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)

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)

How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic (...) meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects. (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)

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)

In lieu of an abstract, here is a brief excerpt of the content:Deep Listening and Virtuous Friendship:Spiritual Care in the Context of Religious MultiplicityDuane R. BidwellA monk asked Zen master Yunmen: “What is the teaching of the Buddha’s entire lifetime?” Yunmen answered:“An appropriate response.”1In a pivotal scene from the 1988 film A Fish Called Wanda, con artist Wanda Gershwitz is fed up—finally—with her partner, Otto West. When his jealousy and ersatz intellectualism repeatedly jeopardize their attempts to steal $20 million (...) in diamonds, Wanda yells: “Now let me correct you on a few things, okay? Aristotle was not Belgian. The central message of Buddhism is not ‘Every Man for Himself.’ And the London Underground is not a political movement. Those are all mistakes, Otto, I looked them up.”2 It’s a funny moment, of course. But Otto’s (mis)understanding of Gautama’s teaching demonstrates a challenge in translating a spiritual-religious tradition from one cultural setting to another. Too often, and usually without intention, we are like Otto; we colonize and domesticate unfamiliar ideas, assimilating them into our existing worldview instead of experiencing and accommodating their challenging differences. Otto’s facile appropriation of Buddhism confirms rather than confronts his pre-critical, individualistic, and perhaps Darwinist worldview. A Buddhist caregiver might say that Otto was not “listening deeply” to the myriad voices that shaped his perspective.Similar hazards face someone writing about deep listening in relation to religious multiplicity.3 Deep listening, as a caring practice, “belongs” to the emerging field of Buddhist contemplative care,4 in which it has a technical (although perhaps undertheorized) usage richly informed by Buddhist thought and practice. But when I reflect as a pastoral theologian and spiritual caregiver trained in the Christian traditions of cura animarum, the cure or care of souls, deep listening can become unmoored from its origins. Someone marinated in the discourses and practices of Christian care can easily and perhaps unintentionally conflate deep listening with classic Christian [End Page 3] concepts of care such as the ministry of presence, the practice of unconditional positive regard,5 and the giving of oneself to God for the sake of the care seeker. Although I identify as a Buddhist Christian, habitual Christian views shape my thinking the way a canyon or streambed shapes the flow of water; unless I am attentive to the ways that Buddhist thought and practice seek fissures and carve new channels through the sediment of Christian spiritual care, I risk appropriating or erasing the practices that Buddhist caregivers call deep listening.Mindful of these waters, I want to immerse myself and readers in a particular question: In the context of spiritual care, what happens at the confluence of deep listening and a practitioner’s multiple religious voices? In responding to this question I have three aims: to describe deep listening, to provide a theoretical and experiential account of deep listening in the context of religious multiplicity, and to suggest an image from the Pāli canon that can help practitioners engage religious multiplicity in ways that minimize harm, increase compassion, and realize wisdom. A particular moment in spiritually integrative psychotherapy serves as a touchstone for my reflection; thus, I begin where the canyon creates a slender and fast-moving channel for deep listening: psychotherapy with Julie.6violence, karma, and compassionAt twenty-seven years of age, Julie was a soft-spoken, biracial graduate student who radiated mindful presence. She identifies as Asian American, and with her shaved head and tendency to wear dark colors and dramatic scarves, she might seem a typical LA hipster to other passengers on the commuter train she rode to and from our appointments. One year before our psychotherapeutic work, Julie had been beaten and raped by a boyfriend; subsequent thoughts of suicide led to a brief hospitalization. At that time she was assigned diagnoses of bipolar II and post-traumatic stress disorders. Daily, she swallowed a powerful mood stabilizer; monthly, she visited a psychiatrist. The symptoms of bipolar disorder, substance abuse, addiction, schizophrenia, depression, and suicide were present in her extended family. Julie sought counseling because of tension between what she called her “Buddhist identity” and the mental health diagnoses assigned to her. She said she... (shrink)

In this essay, Mordechai Gordon interprets Martin Buber's ideas on dialogue, presence, and especially his notion of embracing in an attempt to shed some light on Buber's understanding of listening. Gordon argues that in order to understand Buber's conception of listening, one needs to examine this concept in the context of his philosophy of dialogue. More specifically, his contention is that closely examining Buber's notion of embracing the other is critical to making sense of his conception of (...) class='Hi'>listening. Gordon's analysis suggests that, in Buber's model, listening involves a kind of active attentiveness to another's words or actions, engaging them as though they are directed specifically at us. Gordon's discussion of dialogue and listening also indicates that the relation between speaking and listening is one of reciprocity and mutual dependence and that listening plays an essential role in initiating many dialogues by creating a space in which two people can embrace each other as complete individuals. (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)

This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, (...) and second the noisy listening situation typical to rock or jazz concerts. (shrink)

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based (...) representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners’ self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. (shrink)

This article engages with Monique Deveaux’s book Poverty, Solidarity, and Poor-Led Social Movements. Deveaux argues that philosophers writing on poverty and global justice should be more attentive to what poor people themselves think and do in response to poverty. I support Deveaux’s general orientation but reflect on some challenges that need to be considered and negotiated to achieve Deveaux’s goals. The article begins by complicating some of the distinctions Deveaux makes, especially the distinction between organisations which act on behalf (...) of the poor and those which are led by poor people. To further complicate this distinction, the article explores debates on representation that highlight some of the complexities that arise when privileged actors seek to act in solidarity with poor-led movements. Finally, the article invites Deveaux to further elaborate on the question of the epistemic value of listening to poor people’s accounts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Listening to the World:Prophetic Anger and Sapiential CompassionFelix WilfredPope Benedict XVI has insisted all along how the absence of reference to God has caused dehumanization in our world. Unfortunately, what does not seem to occur to him and those who think along these lines is how the absence of concern and engagement with the issue of suffering—poverty, oppression, racism, and sexism—causes dehumanization. Suffering epitomizes the condition of our (...) contemporary world. This is the meeting point of any meaningful common discourse of religious traditions, independent of the God question. For those believing in God, the very God question is itself bound up with the question of suffering. As Gustavo Gutierrez has rightly pointed out, the real question today is how to speak about God in a world of suffering, and indeed suffering of the innocent.1a world not angry enoughWhat defines us as individuals and groups is the way we respond to suffering. This is a crucial question. For, as Hannah Arendt has drawn to our attention, there is something like a banality of evil.2 Its everyday genesis and manifestations are not anything sensational, as they are mostly committed by ordinary men and women who go about their daily lives and are by no means moral monsters.The first sentiment in responding to suffering should be a sense of horror, trembling, and indignation at the injustice inflicted on the victims, and that is very important. We note that the environment we live in is so politicized that human beings are less and less shocked by the horror of evil. Suffering has become a matter of statistics, codification, media commercialization, and photography.3What strikes us is the fact that anger characterized men and women of great leadership, because they were upset with the existing situation and they imagined a different order of things. Moses was such a man in the biblical tradition. In modern times, such was the case for example with B. R. Ambedkar, the foremost leader of the Dalits (“Untouchables”) of India, and Martin Luther King Jr. of the civil rights movement in the United States, both of whom were great, angry leaders. We could [End Page 63] characterize this as “holy anger.” It aims not at destroying the enemies or punishing them but at redeeming a society from the consequences of suffering.prophetic anger: some salient featuresWhen we speak of prophetic anger, the question that could be raised is: Whose anger? It is first and foremost the anger of the victims. For it is they who know the pain evil inflicts in the form of grinding poverty, violence, and humiliation. Along with the victims, we have those in solidarity with them who express rage at the situations of gross injustice. Anger is of different kinds. Anger can and does often accompany the spirit of vindication and revenge.4 This anger is aimed at others as enemies, and as threats to oneself. But prophetic anger has a direct reference to justice. The anger of the victims has something visceral about it. The whole being of the victim reacts to the injustice and oppression suffered—be it women; discriminated-against ethnic, religious, or linguistic minorities; or any victim of human rights violations. There is then ample room to speak about “black rage,” “Dalit rage,” and “gender rage,” which express the anguish of the victims pushed to the wall through long-standing oppression and yet having the strength to imagine something different. Prophetic anger is a healing anger. It opens the wounds of society and has ultimately the goal of healing them.Prophetic anger is the result of being gripped by an encounter and experience of something wonderful and exceedingly beautiful beyond the present distortion of reality. This is something different from a mere human passion. Like symbols that help us convey what words and speech are incapable of, so anger is a medium to bridge the gulf that divides the lofty realities and the misery of the prevailing situation. The encounter and experience that is in the prophets also finds expression in prophetic anger as it is directed at the cause behind the suffering of the innocent.Prophetic anger is directed... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.2 (2002) 187-188 [Access article in PDF] Listening to Foucault Patrick J. Bracken ERICA LILLELEHT'S INTERESTING PAPER combines philosophy, history, service analysis, and social commentary. The philosophical themes are below the surface, implicit rather than explicit. As such the paper echoes the work of Foucault himself. The subjects of his books and other writings ranged from histories of madness and psychiatry, hospitals and medicine, (...) prisons and punishment, to sexuality and ethics. But these were clearly more than histories. In doing what he initially called archaeology and later genealogy, Foucault was writing about different dimensions of how the Western world has come to understand what it is to be human. In Foucault's hands history becomes philosophy. The essence of his work is an invitation to question the project of Enlightenment. However, his interrogation of the legacy of Enlightenment is far from a rejection of reason as has sometimes been claimed. Rather it represents a realization that there are different forms of reason, none of which can claim a place of privilege over others. Foucault challenged the idea that we have to choose to be for or against Enlightenment (Foucault, 1984).Of central concern for him is the idea that knowledge and power imply each other and cannot be separated. This, of course, is anathema to both Marxist and liberal analysts who hold out the idea that truth and ideology are mutually exclusive. The assumption is that if we get the starting point of our analysis right, the truth ("pure and simple") will emerge. For Foucault there are "regimes of truth," discourses through which certain things can be said and statements can be judged as true or false. Such regimes are social products, bound up with the economic, cultural, and political realities of their times. This is not some sort of mindless relativism nor a nihilistic advocacy that, when it comes to knowledge claims, "anything goes." As human beings in an imperfect world we have to struggle continuously toward a better understanding of ourselves and the make-up of this world. As individuals, we have to continue to debate and argue about ideas, facts, and the nature of knowledge. We have to present evidence, argue our case, and prepare to be contradicted as well as supported. This is not in question. Instead, what is involved here is recognition that there is no neutral asocial, acultural, or apolitical vantage point from we can judge the validity of one position over another. Foucault's work nurtures a healthy skepticism of those who claim to have found such a vantage point.Importantly, he rejected the idea that power is always repressive in its nature: working to silence, obscure, and suppress. Particularly in the modern era power is more characteristically productive. Its operations are bound up with the ever-multiplying discourses we produce about ourselves. While increasing scientific knowledge about the human condition appears to represent progress, listening to Foucault means coming to appreciate that things are a great deal more complex. The title of Lilleleht's paper reflects this. At [End Page 187] a time when there is a great deal of talk about "progress" in the area of mental health, her analysis is opportune. Unless we pay attention to the micropolitics of clinical encounters we are at some risk of simply endorsing new forms of professional power. In one light, the psychiatric rehabilitation approach of William Anthony and colleagues appears obviously progressive. It does not depend on the "medical model" and the use of medication and seems genuinely committed to the idea of empowerment. However, with the sort of sensibility engendered through an encounter with Foucault, other issues come into view. Beneath its focus on skills and training we see a very clear normative framework centered on the idea that the person with psychiatric problems should be guided and trained toward fitting in with "his or her particular environment." At stake here is the assumption that the deficit is in the patient. It is he or she who needs to change. Herein lies the issue of power: who is in control of the way in which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.2 (2002) 189-191 [Access article in PDF] Listening, Acting, and the Quest for AlternativesA Response to Charland and Bracken Erica Lilleleht The challenge is not to replace one certitude... with another but to cultivate an attention to the conditions under which things become 'evident,'... ceasing to be objects of our attention and therefore seeming fixed, necessary, and unchangeable. (Rabinow on Foucault 1997, p. XIX) (...) I do not know whether it must be said today that the critical task still entails faith in Enlightenment; I continue to think that this task requires work on our limits, that is, a patient labor giving form to our impatience for liberty. (Foucault 1997, p. 319) IN RESPONDING TO MY PAPER, Bracken and Charland raise a number of interesting points. Through discussing Tuke's York Retreat (Charland) and Foucault's "regimes of truth" (Bracken), the character of moral treatment, the value of a Foucauldian analysis, the importance of listening (as well as its limits), and the necessity of taking action are all raised as important issues when considering the history and current status of psychiatry. In my response, I shall focus on the latter two issues, namely, the possibility of listening and the necessity of action. I will make the argument that although action can, and often should, follow listening, having action as its necessary (and immediate) goal brings with it a set of pressures and practices that can render both experiences difficult, if not impossible.First, let me share my understanding of Bracken and Charland's main theses and arguments. For Patrick Bracken, the main purpose of any critique, but particularly a critique of current psychiatric practice, is to present readers with a new way of listening and understanding. It should, to paraphrase Bracken, open things up for deeper analysis. The Foucault he is listening to, then, is a man in whose "hands history becomes philosophy". This transformation is important because as it occurs new "discursive spaces" open up, thereby presenting readers of his work with new voices (e.g., patients, less-than-famous psychiatrists, priests). This incursion of the new does not necessarily, however, invalidate the old. Bracken substantiates this by making the important point that Foucault did not simply reject Enlightenment reason (an old and highly persistent voice), but rather "challenged the idea that we have to choose to be for or against" it. Bracken further points out that listening to these voices, [End Page 189] old or new, is never a completely "clean" practice. In Bracken's words, "there is no neutral, asocial or apolitical vantage point from [which] we can judge the validity of one position over the other." This means that in listening to the "other" (as patient, friend, argument, or psychiatric practice) we must maintain a kind of double consciousness, one in which we attend to this other voice while at the same time being aware that neither of us are speaking from within a neutral, clean space (devoid of political, social, and/or cultural pressures or implications). Maintaining this kind of awareness is difficult for obvious reasons. In mental health practice and for Bracken, however, this difficulty can be worthwhile if it results in formerly silent participants having "their voice heard in debates about service development and the nature of progress."Although I doubt Louis Charland would disagree with the idea that listening is important, he does take the function of critique one step further. Specifically for Charland, critiques of psychiatric practice, past and particularly present, should result in the identification of alternative solutions. Failing to do so can indicate that the critique "borders on a lack of depth." If one extends this assertion about my analysis to Foucault's own work, we find that Charland is not alone. For example, Hoy, in his introduction to his edited Foucault: A Critical Reader (1992), states that "Foucault's continued refusal to specify either a prescription or a prognosis for social illnesses he diagnoses suggests to some readers that genealogy is as unserious and irresponsible as archeology" (p. 7). This point emerges... (shrink)

This paper adds a phenomenological account to the discussion on what constitutes the favorable prospects of the peer-relation in the context of self-help. By drawing on Heidegger’s lectures on St Paul’s First Thessalonians, and engaging in dialogue with a fictive case, we show that more attention needs to be given to how meaning is enacted, rather than simply adopted, in the peer-relation; that is, away from experiential content towards the process of how experiential knowledge is transferred communicatively. This, we argue, (...) may clarify the underpinnings of the peer-relation and its emancipatory potential. Our findings propose a reconsideration of the role played by communicative activities in self-help. And, whereas storytelling has often been propounded as a way to facilitate agency among self-helpers, also the act of listening should receive more attention. By considering listening as an expression of agency, attention is reversed from self-narration on behalf of the person expected to be helped from it, to participation in another person’s story. The enaction approach to the peer-relation elaborated on in this paper invites the reader to rethink the value of talking and listening in helping relationships. (shrink)

In the study of Pali metres, abundant research has been conducted on the establishment of rules and taxonomy, and scanning of unscanned verses. In comparison, the stylistic aspects of metres have been somewhat neglected. When the audiences listen to verses with their ears only set for metrical rules but not also the interplay of various rhythmic patterns, they fail to fully capture the aesthetic beauty and the very philosophical messages embedded in them. Taking the verses in the Dasanipata of the (...) Theragatha as examples, this article focuses on the stylistic interplay of rhythmic uniformity and change in the expression of core messages in a Pali poem. It aims to unveil the poets’ strategies in the use of various types of metres and prosodic elements (opening, trimetre break, caesura and cadence) to create the narrative style of each poem and draw the audiences’ attention to the Buddha’s key teachings in the verses. (shrink)

Although much attention has been given to Jacques Lacan in his rereading of Freud and to French women analysts in their deconstruction of traditional psychoanalysis, little has been available in the US on contemporary male French analysts and their treatment of women. She Speaks/He Listens illustrates the range of thought among some well-known French male psychoanalysts today--from Lacanians to anti-Lacanians to eclectics--with regard to women and sexual difference. Through the interview format, with its possibilities for surprise and spontaneity, the book (...) makes available the thought of Alain Didier-Weill, Bela Grunberger, Patrick Guyomard, Serge Lebovici, Rene Major, Gerard Pommier and Francois Roustang, as well as the internationally famed analyst Otto Kernberg, who gives a fascinating account of the French influences on his work. Other themes addressed include the place of Freud and Lacan in current theory and the relation of feminism to contemporary French male psychoanalysts. (shrink)

When the stored representation of the meaning of a stimulus is accessed through the processing of a sensory input it is maintained in an activated state for a certain amount of time that allows for further processing. This semantic activation is generally accompanied by conscious identification, which can be demonstrated by the ability of a person to perform discriminations on the basis of the meaning of the stimulus. The idea that a sensory input can give rise to semantic activation without (...) concomitant conscious identification was the central thesis of the controversial research in subliminal perception. Recently, new claims for the existence of such phenomena have arisen from studies in dichotic listening, parafoveal vision, and visual pattern masking. Because of the fundamental role played by these types of experiments in cognitive psychology, the new assertions have raised widespread interest. (shrink)

Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless (...) of the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features. (shrink)

The current study used cross-modal oddball tasks to examine cardiac and behavioral responses to changing auditory and visual information. When instructed to press the same button for auditory and visual oddballs, auditory dominance was found with cross-modal presentation slowing down visual response times more than auditory response times (Experiment 1). When instructed to make separate responses to auditory and visual oddballs, visual dominance was found with cross-modal presentation decreasing auditory discrimination and participants also made more visual-based than auditory-based errors on (...) cross-modal trials (Experiment 2). Experiment 3 increased task demands while requiring a single button press and found evidence of auditory dominance, suggesting that it is unlikely that increased task demands can account for the reversal in Experiment 2. Auditory processing speed was the best predictor of auditory dominance, with auditory dominance being stronger in participants who were slower at processing the sounds, whereas, auditory and visual processing speed and baseline heart rate variability did not predict visual dominance. Examination of cardiac responses that were time-locked with stimulus onset showed cross-modal facilitation effects, with auditory and visual discrimination occurring earlier in the course of processing in the cross-modal condition than in the unimodal conditions. The current findings showing that response demand manipulations reversed modality dominance and that time-locked cardiac responses show cross-modal facilitation, not interference, suggest that auditory and visual dominance effects may both be occurring later in the course of processing, not from disrupted encoding. (shrink)

Some proponents of higher education English as a medium of instruction have suggested listening to English lectures provides students the opportunity to incidentally acquire unknown words. A case study was designed to examine this assumption. First, the lexical profiles of 27 Introduction to English Language Teaching first-year undergraduate course lectures were computed to determine how many words students need to know for comprehension. Then an incoming year-1 undergraduate student with an English vocabulary size of 7,500 word families and mastery (...) of the most frequent 3,000 word families listened to these lectures across 13.5 weeks with the purpose of measuring incidental acquisition gains of three aspects of word knowledge for ten targeted words. Lastly, the student’s perceptions about listening to EMI lectures and potentials for this listening inducing incidental acquisition of word knowledge were gathered through a semi-structured interview. The lexical profiling of the entire corpus showed students need knowledge of the most frequent 4,000 English word families plus proper nouns and marginal words for 98% lexical coverage; however, some lectures present students with a more substantial lexical burden than the lectures overall. The student made the most gains in receptive meaning, followed by receptive form, and finally productive meaning. Content analysis of the interview transcript found seven themes representing the student’s perception about listening to EMI lectures and their potential for inducing incidental vocabulary acquisition. While the student found listening to the EMI lectures challenging, he perceived the process as useful in preparing for university studies and a career as a secondary English teacher. The student perceived attention, topic, existing vocabulary knowledge, lecturer’s native language, and lack of interaction with the lecturer to have moderated incidental learning of vocabulary through listening to English lectures. These results indicate a need to confirm whether incoming students’ vocabulary knowledge meet the lexical demands of the EMI lectures given in the Macau context. Furthermore, pedagogical training on teacher talk strategies and orientation training for incoming students should both be provided to ensure students are receiving high quality instruction. (shrink)

Performance is increasingly important to the poet, which is evidenced by the growing numbers of videos and audio recordings online including YouTube, the National Poetry library, and Poetry Archive. As a result, there are greater opportunities to engage with poets reading their own work and consequently, there is a need to move away from thinking of poetry as primary something that takes shape on the page. Furthermore, by refocusing attention to poetry as an oral artform, in particular to poetry performance, (...) different ways of understanding the value of poetry come to the fore. The live poetry performance, I argue, offers an attempt to reclaim the personal individual expression of language in contemporary society and demands attention by the audience because of the role of voice and body in the performance. Through awareness of ‘uniqueness of voice,’ the performed poem becomes a site of collective meaning making with individual identity intact as a shared endeavour between performer and audience, and necessarily resists appropriation (in the sense that the words experienced cannot be divorced from the performer or the performance space to serve as a proxy for meaning elsewhere). This chapter therefore makes an argument for the need to engage with spoken word and performance poetry in the live performance space. (shrink)

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 thesis is directed towards a philosophy of music by attention to conceptions and perceptions of space. I focus on melody and harmony, and do not emphasise rhythm, which, as far as I can tell, concerns time rather than space. I seek a metaphysical account of Western Classical music in the diatonic tradition. More specifically, my interest is in wordless, untitled music, often called 'absolute' music. My aim is to elucidate a spatial approach to the world combined with a curiosity (...) about the nature of the Pythagorean intervals. Thus one question I seek to answer is: What do the Pythagorean intervals import to music? In their original formulation by Pythagoras, and further, by Plato, their import seemed mystical and analogous to a 'harmony of the spheres.' In this spatial approach, the Pythagorean intervals are indicative of infinite depth. The faculty of hearing alone does not ordinarily spatially locate sources. Hearing is ordinarily combined with sight in order to spatially locate a sound. Yet we talk about music as if it were spatially located, that is, as if it were a visible object with a surface and themes or 'objects'. I explore the faculty of vision and consider in what ways the processes of vision might be similar to and distinct from audition. My source for this approach is David Marr's book 'Vision' and his theory of the 2 1/2-dimensional sketch. In a medium in which there is no spatial location, it is important to situate the listener. Newton solved the problem of location by demonstrating the effects of gravity. P. F. Strawson claims that an analogy of distance is required in hearing to situate the listener, that is, a sense of nearer to and further from a source or object that permits a perception of distance. I claim that in music, the key signature and the scalar relations of musical themes provide this analogy of distance. The works of Plato, Aristotle, Descartes, Leibniz, and Newton are studied for their accounts of motion, bodies, and space. From these metaphysicians can be gleaned elements of music that include form, motion, timbre, dynamics, and attraction. By incorporating motion, I aim to show that although we may not know the true nature of space, we can learn from hearing music that space is perceptible in other than three dimensions. (shrink)

Certain Daoist ideas explored here are compared with features of Peirce's philosophy, supplying a helpful perspective on the latter. In particular, I examine Zhuangzi's instruction about “listening” with one's spirit, along with certain discussions of “listening energy” drawn from texts dealing with the Daoist martial arts. I argue that Daoist “listening” and Peirce's concept of “musement” are both to be regarded as a disciplined form of attentiveness. By attending to no predetermined thing, a person thus disciplined is (...) “ready” for the encounter with what might otherwise remain unperceived in experience, prepared to listen to voices that might otherwise be ignored. (shrink)

In his Complaint of Peace, the great sixteenth-century humanist Erasmus allows "Peace" to talk. Peace speaks as a plaintiff, protesting her shabby treatment at the hands of humankind and our ever-ready inclination to launch wars. Against this lure of warfare, Erasmus pits the higher task of peace-building, which can only succeed through the cultivation of justice and respect for all human life. First articulated in 1517, the complaint of peace has echoed through subsequent centuries and down to our age--an age (...) convulsed by world wars, holocausts, and ethnic cleansings. Distinguished political scientist Fred Dallmayr traces this complaint from the writings of Erasmus through the evolution of the "law of nations" to recent and contemporary co-plaintiffs in the West. He also highlights the role of non-Western thinkers and teachings in giving voice to "Peace." In addition to Erasmus, Dallmayr engages major thinkers such as Francisco de Vitoria, Hugo Grotius, Immanuel Kant, Hannah Arendt, Martin Heidegger, Mahatma Ghandi, the Dalai Lama, John Rawls, and Martha Nussbaum. This timely book urgently pleads for greater attentiveness to peace's complaint as an antidote to the prevailing culture of violence and the escalating danger of nuclear catastrophe. Dallmayr offers not only a compelling historical narrative, but powerful ethical and religious arguments vindicating the primacy of peace over violence and war. (shrink)

This article considers Sophocles’s Antigone as a potential resource for contemporary scholarship on democratic citizenship and the politics of public deliberation by exploring the play’s themes of speaking and listening. In so doing, it finds that the political implications of the play can be better understood with attention to the character of Haemon. Haemon endorses a conception of practical wisdom in which learning is achieved by speaking with and listening to others. A crucial step in Haemon’s education is (...) his sympathetic identification with Antigone. The sympathetic portrayal of Antigone and the dramatization of Haemon’s moral coming-of-age together constitute a potential model of engagement in public conversation supported by sympathetic identification with political outsiders. (shrink)

In this essay, I argue that Richard Rorty's version of pragmatism focuses too much on community, and gives insufficient attention to the workings of power and the necessary relation between theory and practice. I then turn briefly to the work of Michel Foucault for a better understanding of power relations. Finally, I argue for the value of learning from a group of writers who connect theory and practice in a way that attends to both community and power relations.

Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. This book foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental design beyond prevailing visual and (...) human-centred modes. The guide expands landscape architects' and urban designers' tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process, and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice, and incorporates theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. The book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to landscape architects, together with other design professionals such as urban designers, architects, geographers and engineers, who play a primary role in the composition of the soundscape. (shrink)

We investigated the coupling between a speaker's and a listener's eye movements. Some participants talked extemporaneously about a television show whose cast members they were viewing on a screen in front of them. Later, other participants listened to these monologues while viewing the same screen. Eye movements were recorded for all speakers and listeners. According to cross-recurrence analysis, a listener's eye movements most closely matched a speaker's eye movements at a delay of 2 sec. Indeed, the more closely a listener's (...) eye movements were coupled with a speaker's, the better the listener did on a comprehension test. In a second experiment, low-level visual cues were used to manipulate the listeners' eye movements, and these, in turn, influenced their latencies to comprehension questions. Just as eye movements reflect the mental state of an individual, the coupling between a speaker's and a listener's eye movements reflects the success of their communication. (shrink)

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)