The origin of McLuhan’s notion of acoustic space is described. It is shown that his definition of acoustic space as having its center everywhere and its margin nowhere can be traced back to the Christian mystics of the Middle Ages and the early Renaissance dating as far back as the 12th Century.

Este trabajo está pensado desde la concepción de los espacios como expresión deambientes tecnológicos,de acuerdo con la teoría de Marshall McLuhan. El objetivo central es la comprensión de espacios cotidianos en situaciones históricas diversas. Así, después de una descripción general del espacio, la exposición se concentra en los espacios de la oralidad, primaria y secundaria, y fundamenta, finalmente, la determinación general de los espacios en la comprensión de los ambientes como procesos socioculturales. This essay is based on the conception of (...) spaces as an expression of technological environments, according to Marshall McLuhan’s theory. The main objective is to analyze the comprehension of everyday spaces in diverse historical situations. Therefore, after a general description of the spaces, the exposition focuses on the spaces of primary and secondary speech, and finally, supports the general determination of these spaces upon the understanding of environments as sociocultural processes. (shrink)

It has been known for long time that the cosmic sound wave was there since the early epoch of the Universe. Signatures of its existence are abound. However, such an acoustic model of cosmology is rarely developed fully into a complete framework from the notion of space, cancer therapy up to the sky. This paper may be the first attempt towards such a complete description of the Universe based on classical wave equation of sound. It is argued that (...) one can arrive at a consistent description of space, elementary particles, Sachs-Wolfe acoustic theorem, up to a novel approach for cancer therapy, starting from this simple classical wave equation of sound. We also discuss a plausible extension of Acoustic Sachs-Wolfe theorem based on its analogue with Klein-Gordon equation to become Acoustic Sachs-Wolfe-Christianto-Smarandache-Umniyati (ASWoCSU) equation. It is our hope that the new proposed equation can be verified with observation data. But we admit that our model is still in its infancy, more researches are needed to fill all the missing details. (shrink)

An explicit feature of the World Health Organisation’s response to the COVID-19 pandemic has been to ensure that naming conventions, both for the disease itself and for the variants of its underlying virus, should not have a stigmatising effect on any one population or region. An implicit feature of this undertaking is the recognition that the relation between ‘what is said’ and ‘what is heard’ involves an ongoing and even generative tension that cannot be mapped following a defined set of (...) coordinates. The reason for this, the following paper claims, employing the work of Barbara Cassin, is that there is a uniquely performative (epideictic) aspect to language – one that takes place in a uniquely non-globalised space whose extension remains unscripted or extemporised, a space that is often distended and sometimes localisable but ultimately indivisible. Such a space, this paper shows, is one oriented by an understanding of rhetoric whereby utterances obtain according to the actual use [chreia] or decisive moment [kairos] – as opposed to any definitive place [topos] – of what is said. (shrink)

Can we describe certain sonic experiences as “homely,” even when they take place outside of a traditional home-space? While phenomenological accounts of home abound, with writers detailing a rich spectrum of the felt characteristics of the homely including safety, familiarity, and affective “warmth,” there is a scarcity of research into sonic experience that engages with such literatures. With specific interest in the experience of embodied space, I account here for what might be termed feelings of “sonic homeliness” as (...) they emerge during headphone listening. After forming a conceptual model of homeliness that draws from phenomenological philosophy, I investigate its applicability to experiences of headphone listening. Through analysis of primary interview data, I consider how headphones may be said to territorialize space for listeners, analyzing how sonic “boundaries” are experienced in relation to the body, as well as how some listeners describe their experiences as interiorized, comforting, and “wombic.”. (shrink)

Sounds are heard, sometimes even felt, but in most cases they remain unseen. This ephemeral and invisible nature of sound was already considered a problem when the science of acoustics took form in the seventeenth century. The fact that sound could not be seen was described as a significant hindrance to its understanding. But it was precisely during this time that a wide variety of sounds attracted broad scientific attention across Europe. Scholars, natural philosophers, and mathematicians investigated and experimented with (...) sound and musical instruments and developed theories of hearing. This article looks at the role of images, diagrams, and visualization techniques in late seventeenth-century acoustics, bringing together the history of sound and the history of scientific images. Focusing on water and light as the dominant analogies for sound, the article demonstrates that visualization was an important tool for thinking about sound and allowed for the circulation of theories and experiments. At the same time, the epistemic status of these images remained contested, as there was no single model that could explain the different ways sound behaves as it moves through space and that could be visualized. (shrink)

Listeners are able to quite accurately distinguish between different dialects of their native language, but little is known about the process of dialect identification and the phonetic cues listeners use to identify someone's regional origin. This study examines how different segments, acoustic between-dialect distance, and the listeners' knowledge about a dialect contribute to this process. Native speakers of Grison and Zurich German were asked to categorize isolated words spoken by eight speakers of Grison and eight speakers of Zurich German. (...) Stimuli contained either none, one, or two segmental cues to regional origin. The presence of one dialect-specific segment was enough to allow for an identification rate well above chance. Sensitivity measures and analysis of reaction time showed that the two dialect groups largely relied on the same segmental cues. Acoustic distance to the other dialect, quantified as Euclidean distance in the F1×F2 vowel space, generally facilitated dialect identification, but interacted with native speakers' general knowledge about the dialects: In segments which listeners explicitly associate with one of the two dialects, acoustic distance facilitated dialect recognition to a larger extent than in segments listeners are not aware of dialectal variation. The results suggest that, depending on the prior knowledge about a dialect, acoustic variation is weighted differently. Further analysis showed that Zurich listeners were more sensitive to the dialect differences, responded faster, and presented a more-marked own-dialect response bias than Grison listeners. These findings are in line with the status of Grison German as a marked and Zurich German as a neutral dialect and suggest that, depending on their own dialect's status, listeners used different decision strategies. (shrink)

In programs of acoustic survey, the amount of data collected and the lack of automatic routines for their classification and interpretation can represent a serious obstacle to achieving quick results. To overcome these obstacles, we are proposing an ecosemiotic model of data mining, ecoacoustic event detection and identification, that uses a combination of the acoustic complexity indices and automatically extracts the ecoacoustic events of interest from the sound files. These events may be indicators of environmental functioning at the (...) scale of individual vocal species, the acoustic community, the sound marks, or the soundscape. The EEDI model is represented by three procedural steps: 1) selecting acoustic data according to environmental variables, 2) detecting the events by creating an ecoacoustic event space produced by plotting ACIft and its evenness, 3) identifying events according to the level of correlation between the acoustic signature of the detected events and an ad hoc library of previously identified events. The EEDI procedure can be extensively used in basic and applied research. In particular, EEDI may be used in long-term monitoring programs to assess the effect of climate change on individual vocal species behavior, population, and acoustic community dynamics. The EEDI model can be also used to investigate acoustic human intrusion in natural systems and the effect in urban areas. (shrink)

This commentary focuses on the nature of combinatorial properties for speech and the locus equation. The presence of some overlap in locus equation space suggests that this higher order property may not be strictly invariant and may require other cues or properties for the perception of place of articulation. Moreover, combinatorial analysis in two-dimensional space and the resultant linearity appear to have a “special” status in the development of this theoretical framework. However, place of articulation is only one (...) of many phonetic dimensions in language. It is suggested that a multidimensional space including patterns derived in the frequency, amplitude, and time domains will be needed to characterize the phonetic categories of speech, and that although the derived properties ultimately may not meet the conditions of linearity, they will reflect a higher order acoustic invariance. (shrink)

To a first-order approximation we can place most worship services on a continuum between clarity and mystery, depending on the setting and content of the service. This liturgical space can be thought of as a combination of the physical acoustics of the worship space and the qualities of the sound created during the worship service. A very clear acoustic channel emphasizes semantic content, especially speech intelligibility. An immersive, reverberant acoustic emphasizes mystery and music. One of the (...) chief challenges in acoustical design is the fact that both clarity and immersion are subjectively preferred by audiences, yet these two goals are almost mutually exclusive of one another. The movement along this continuum in liturgical space can also be seen in the religious contexts for many of the worship spaces constructed in the West in the last two millennia. In the case of religious ceremony, a free field acoustic environment provides more clarity and precision in the spoken word received from God and given to the congregation. Yet a diffuse field environment provides an embodied, otherworldly sense of the supernatural: the mystery of the faith received which cannot merely be put into words. This tension is perceptible in many of the religious controversies in the West during this time period. This article examines the history of the spaces used by early Western Catholic Christians as well as those of the traditions—Lutheran and Calvinist—that left the Catholic faith during the 16th century Reformation. By considering the stated goals of these traditions alongside the architectural and liturgical innovations they created, it can be seen that emergent liturgical spaces mirror the assumptions of their respective traditions regarding the proper balance between semantic and aesthetic communication during the worship service. The Reformed faiths' emphasis on the power of the Word is reflected in the liturgical space of their services, while the Catholic faith gave greater priority to the role of Mystery, in their liturgical space as well as their explicit theology. Once constructed, these spaces also aid the cultural transmission of the sung or spoken liturgy of each tradition to future generations. (shrink)

“In space”, declared the posters for the 1979 movie Alien, in a deliberately disconcerting juxtaposition, “no-one can hear you scream.” Yet even the space that lies beyond the earth is not utterly silent – stars and planets themselves produce sounds that radiate through the rarefied gases lying between them, although the wavelengths produced lie far beyond the range of human hearing. There are, then, not even in the spaces between the planets and the stars, any truly silent spaces, (...) and merely to be present in a space, no matter the nature of the space in question, is already to disturb that space in multiple ways – such disturbance typically being manifest acoustically no less than visually. Yet often we tend to conceptualise space and spatial presence in terms that actually give priority to the visual over the acoustic, and even to neglect the spatial character of the acoustic altogether. A classic example of this is to be found in the work of the British philosopher Peter Strawson who famously proposed, as a kind of thought-experiment, the idea of what he called a ‘No-Space world’ that was constituted in purely auditory terms, and was for just this reason taken to be a non-spatial world. 1.. (shrink)

In the paper Gernot Böhme considers the spatial aspects of the perception of sound, especially the human voice, which he sees not as a verbal bearer of meaning but the expression of “the speaker’s atmospheric presence.” The voice lends the communication space emotional colour and the atmospheres it creates envelop the communication partners by way of resonance. The author sets the signatures concept propounded by the Renaissance philosopher Jacob Böhme against semiotic theories: understanding music is not interpretation but resonance. (...) Gernot Böhme also focuses on contemporary experimental music, where musical instruments are not treated as tools for the production of musical sounds but bodies “provoked” to generate specific sounds in the acoustic space. (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)

The performance of music in early modern French and Italian music rooms typically created an aural impression of ‘Intimacy’ and ‘Clarity’ whereby the individual instruments could clearly be perceived spatially. These qualities arise from the close proximity of the audience to the performers and the acoustic characteristics generated by the room geometry. Generally, the rooms were rectangular with high ceilings, between 4 and 8 metres, with volumes between 200 and 1000 cubic metres. Such rooms, when occupied, have moderate reverberance, (...) which helps maintain the individuality of separate voices. The size and volume also give rise to short-delay reflections from the walls and ceiling, which enhance ‘Clarity’, ‘Intimacy’ and ‘Envelopment’. The acoustic characteristics of these rooms will be discussed in terms of current subjective and objective parameters developed for assessing concert venues. (shrink)

This chapter investigates the locations and modes of musical performance in the residences of the nobility in seventeenth-century Rome, indicating the differences between this period and the Renaissance. In particular, instances of music-making in the courts of princes and cardinals are identified and described, in relation to considerations of etiquette, social conventions and anthropology. This research, based on first-hand documentary research in the archives of Roman noble families, has revealed unexpected locations for music-making, which cannot always be justified in terms (...) of acoustic or aesthetic criteria. Particular attention is paid to the places where instruments were stored, as recorded in inventories, and their typology. (shrink)

Fathom is a sound installation by Jane Grant and John Matthias, which was commissioned by the River Tamar Project and was premiered at the Factory Cooperage Building in Royal William Yard, Plymouth, UK in September 2013. Visitors entering the installation were able to hear live and edited sound recorded underwater in Plymouth Sound, a large estuarine body of water from which the Plym, Tamar and Hamaoze Rivers flow into the sea. Six-step ladders in the centre of the installation space (...) surrounded by several additional speakers enabled visitors to climb out of the underwater sonic environment, above the fathom, and hear live acoustic sound relayed by microphones above the water. The artists worked with a team including production manager, Simon Honywill and Martin Audio to create a sonic ‘surface’ 6ft above the ground to enable this to happen. This article will describe how Fathom was created and, in particular, will focus on how the creation of the sonic surface affected the way in which the visiting public interacted with the work. (shrink)

Spatial region concepts such as “front,” “back,” “left,” and “right” reflect our typical interaction with space, and the corresponding surrounding regions have different statuses in memory. We examined the representation of spatial directions in the auditory space, specifically in how far natural response actions, such as orientation movements toward a sound source, would affect the categorization of egocentric auditory space. While standing in the middle of a circle with 16 loudspeakers, participants were presented acoustic stimuli coming (...) from the loudspeakers in randomized order, and verbally described their directions by using the concept labels “front,” “back,” “left,” “right,” “front-right,” “front-left,” “back-right,” and “back-left.” Response actions varied in three blocked conditions: (1) facing front, (2) turning the head and upper body to face the stimulus, and (3) turning the head and upper body plus pointing with the hand and outstretched arm toward the stimulus. In addition to a protocol of the verbal utterances, motion capture and video recording generated a detailed corpus for subsequent analysis of the participants’ behavior. Chi-square tests revealed an effect of response condition for directions within the left and right sides. We conclude that movement-based response actions influence the representation of auditory space, especially within the sides’ regions. Moreover, the representation of auditory space favors the front and the back regions in terms of resolution, which is possibly related to the physiological characteristics of the human auditory system, as well as to the ecological requirements of action control in the different regions. (shrink)

In the first year of life, infants' speech perception becomes attuned to the sounds of their native language. This process of early phonetic learning has traditionally been framed as phonetic category acquisition. However, recent studies have hypothesized that the attunement may instead reflect a perceptual space learning process that does not involve categories. In this article, we explore the idea of perceptual space learning by implementing five different perceptual space learning models and testing them on three phonetic (...) contrasts that have been tested in the infant speech perception literature. We reproduce and extend previous results showing that a perceptual space learning model that uses only distributional information about the acoustics of short time slices of speech can account for at least some crosslinguistic differences in infant perception. Moreover, we find that a second perceptual space learning model, which benefits from word‐level guidance. performs equally well in capturing crosslinguistic differences in infant speech perception. These results provide support for the general idea of perceptual space learning as a theory of early phonetic learning but suggest that more fine‐grained data are needed to distinguish between different formal accounts. Finally, we provide testable empirical predictions of the two most promising models and show that these are not identical, making it possible to independently evaluate each model in experiments with infants in future research. (shrink)

The acoustic environments of small, central urban parks are often dominated by traffic sounds. Water sounds can be used to mitigate the negative impacts of unwanted sounds through masking. Studies comparing the effects of different water sounds are typically conducted using recordings in laboratory settings where ecological validity is limited. An urban redesign project in Montreal took the innovative approach of trying three sequential temporary designs of a new public square, each of which included a distinct water feature that (...) produced a lightly-audible mist. Here we report on a field experiment evaluating the effect of the water feature in each of the three designs. Respondents evaluated their experience with the three different designs using questionnaires including soundscape and restorativeness scales, and perceived loudness. The results indicate a significant interaction effect between the water feature and the design of the space, particularly on ratings of chaotic and loud. While two water feature designs had an overall “positive” effect on soundscape assessment, the third water feature design produced the opposite effect. These findings hold even after accounting for ambient temperature. This opportunity to test multiple water features in the same space revealed that water features do not automatically improve soundscape assessments. The visual design, function of the space and environmental conditions should be carefully considered and calls for more field studies. We discuss consequences and considerations for the use of water features in public spaces as well as the implications in terms of ecological validity of soundscape studies. (shrink)

In this article, I develop and redirect Julian Henriques’s model of sonic dominance through examination of accounts of acoustic violence and torture involving headphones. Specifically, I show how auditory experience has been weaponized as an intracorporeal phenomenon, with headphones effecting a sense of sounds invading the interior phenomenological space of the head. By analysing reported cases of sonic violence and torture involving headphones through a composite theoretical lens drawn from the fields of music, sound and body studies, I (...) argue that in saturating the head’s perceived interior with sound, perpetrators of violence perform sonic dominance across two interrelated levels: the subjugation of interiorized auditory space via the notion of flooding, in which attention is directed towards the experience of the body as a vessel for sound; and the resulting manipulation of phenomenological head–mind linkages, with emphasis on the head as a ‘space’ for both sound and thought. (shrink)

This article offers a thorough and critical reading of Husserl’s Thing and Space. This reading is principally motivated by the effort to methodologically design a phenomenological–topological approach to the research of lived sonic environments. In this book, Husserl lays foundations of phenomenological topology by understanding perceptions as places and defining, consequently, the space as a system of places. The critical reading starts with pointing out the ambiguity of location in Thing and Space, which consists mainly in the (...) insufficient implementation of the distinction between the location and the localization. Further investigations then reveal the roots of this ambiguity in both the preference of visual perception and the omission of subjective aspects of kinesthesia. The article critically examines Husserl’s notion of the appended localization that expresses the marginalization of acoustic experience. In conclusion, the article utilizes the critical findings to formulate the project of a place-based, medium-centered, and multi-sensory approach to sonic environments. (shrink)

In western cultures, when it comes to places of worship and liturgies, music, acoustics and architecture go hand in hand. In the present study, we aimed to investigate whether the emotions evoked by music are enhanced by the acoustics of the space where the music was composed to be played on. We explored whether the emotional responses of western naïve listeners to two vocal pieces from the Renaissance, one liturgical and one secular, convolved with the impulse responses of four (...) Christian temples from the United Kingdom, were modulated by the appropriate piece/space matching. In an alternative forced choice task where participants had to indicate their preference for the original recording of the piece (not convolved with any temple-like acoustics) vs. the convolved one, no significant differences were found. However, in the tasks where participants rated their emotional in response to each piece and acoustic condition, the factorial ANCOVA analyses performed on the results revealed significant effects. We observed that, across pieces and spaces, participants found the temple-like acoustics as more transcendent, compared to the acoustics of the original version of the pieces. In addition, they rated the secular piece as more tender and the liturgical piece as more expressive in its original versions, compared to the convolved ones. We conclude that the acoustic signature of the four Christian temples causes an exaltation of certain emotions on listeners, although this effect is not associated to one or another musical piece. (shrink)

The introduction sets the forthcoming chapters in the broader context of musical life in Early Modern France and Italy, with reference to existing scholarship on the subject. The occasions and locations in which musical performance took place are outlined, and the scope of the book is defined, stressing the close connections between France and Italy. A growing number of studies of secular music-making consider the social and ideological framework for performance, but usually without serious consideration of architectural settings. Yet these (...) were crucial to the acoustic quality of the performance, for both players and listeners. The chapter therefore underlines the need for an interdisciplinary approach, to establish the background for the study of the emergence of the permanent theatre. (shrink)

McLuhan’s status as the patriarch of Canadian media studies is explored as a troublesome nomological principle in light of Derrida’s Archive Fever. The trouble with archives, for Derrida, is the trouble of the original source. Linking McLuhan’s exploration of typographical and electronic communication systems to Derrida’s deconstruction of the archive as a technology of exteriorization, this paper investigates the nature of subjectivity and objectivity in Western epistemology. Can the archive, conceived of as a medium, allow for an escape from the (...) specters of the past? Derrida’s proposed ‘archive of the future’ is theorized in terms of McLuhan’s sense of acoustic space and Foucault’s non-subjective discourse, and as a spatial and cultural construct reflecting the technological uncertainty in an age of mixed-media. (shrink)

In this paper, I will try to integrate Joel Krueger’s enactive theory of music perception with some of Erwin Straus’ reflections on different forms of experiencing spatiality and movement. Krueger (2009, 2011b) maintains that music perception is a form of active perception, in which our body and our ability to move with music act as vehicles to draw out certain features of the piece and to respond to the affordances it presents. However, the author does not specify what kind of (...) movements are involved in the enactment of music perception. I will propose such a specification, using Straus’ distinction between goal-directed and expressive movements (Straus 1930). (shrink)

Two computer simulations are investigated that model interaction of cultural evolution of language and biological evolution of adaptations to language. Both are agent‐based models in which a population of agents imitates each other using realistic vowels. The agents evolve under selective pressure for good imitation. In one model, the evolution of the vocal tract is modeled; in the other, a cognitive mechanism for perceiving speech accurately is modeled. In both cases, biological adaptations to using and learning speech evolve, even though (...) the system of speech sounds itself changes at a more rapid time scale than biological evolution. However, the fact that the available acoustic space is used maximally (a self‐organized result of cultural evolution) is constant, and therefore biological evolution does have a stable target. This work shows that when cultural and biological traits are continuous, their co‐evolution may lead to cognitive adaptations that are strong enough to detect empirically. (shrink)

Two computer simulations are investigated that model interaction of cultural evolution of language and biological evolution of adaptations to language. Both are agent-based models in which a population of agents imitates each other using realistic vowels. The agents evolve under selective pressure for good imitation. In one model, the evolution of the vocal tract is modeled; in the other, a cognitive mechanism for perceiving speech accurately is modeled. In both cases, biological adaptations to using and learning speech evolve, even though (...) the system of speech sounds itself changes at a more rapid time scale than biological evolution. However, the fact that the available acoustic space is used maximally is constant, and therefore biological evolution does have a stable target. This work shows that when cultural and biological traits are continuous, their co-evolution may lead to cognitive adaptations that are strong enough to detect empirically. (shrink)

This article combines situational analysis with situationists dérive to weave a seemingly disjointed series of historical tableaux, materialities, marginalia, combustion and corporeal techniques in embryology, chemistry, geology, synthetics and magic. The double locus structuring this constellation is Hilde Proescholdt (1898–1924), a gifted German experimental biologist; and Abraham Gesner (1797–1864), Canadian physician, geologist and inventor of kerosene. Following Adele Clark’s SA research programme, I attend to situational maps recurring the experimental repertoires Gesner and Proescholdt with the material, social and artefactual historicities (...) they environed. Through dérive, I narrate by displacement, cutting along the bias, rather than with the historical fabric. My aim is to contribute media ethology as variation on Robert Logan’s call for a broad spectrum media ecology that is agnostic to stable distinctions between content and container. I pay special appropriation to the signalling dynamics of the Spemann-Mangold organizer as an active media or, in complimentary phenomenal guise, Marshall McLuhan’s characterization of acoustic space as ‘all centres and no margins’. Proceeding through double-locus and doublemethod appropriates what Proescholdt’s supervisor, Hans Spemann, would have cautioned us against as bad magic by co-inducing interference between primary and the implanted organizing centres. Within the chapter, media ethology contributes a complex sum of SA+ dérive as a symmetrical mappings and non-obligate appropriations across inquiry and technique in the arts and the sciences. My discussion more broadly offers to enter debates on the relative merits and stakes for performative knowledge production and communication through the nexuses of art, science and technology studies. (shrink)

The Routledge Companion to Sounding Art presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples and links to further resources. The collection is organized around six main themes: Sounding Art: The notion of sounding art, its relation to sound (...) studies, and its evolution and possibilities. Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound. Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening. Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound. Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography. Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed. With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art. (shrink)

Decoding the function and meaning of a foreign culture's sounds and gestures is a notoriously difficult problem. It is even more challenging when we think about the sounds and gestures of nonhuman animals. This essay provides a review of what is currently known about the informational content and function of primate vocalizations, emphasizing the problems underlying the construction of a primate “dictionary.” In contrast to the Oxford English Dictionary, this dictionary provides entries to emotional expressions as well as potentially referential (...) expressions. It therefore represents a guide to what animals do with their vocalizations, as well as how they are represented by signalers and perceivers. I begin by a discussion of the unit problem, of how an acoustic space is carved up into functionally significant components leading to a species‐specific repertoire or lexicon of sorts. This section shows how little we know about the units of organization within animal vocal repertoires, and how such lack of information constrains our ability to tackle the problem of syntactic structure. In Section III, I review research on the production and perception of vocal signals that appear to be functionally referential. This work shows that several nonhuman primates produce vocalizations that share some of the key properties of reference, but certainly not all; the components that are missing raises questions about their role as precursors to human words. In Section IV, I explore the social uses of vocalizations, assessing whether the signal contains sufficient information for listeners to judge a caller's credibility; ultimately, caller credibility determines how receivers select an appropriate response. Results show that individuals can use calls to assess whether someone is reliable or unreliable, and that such attributes are associated with individuals and particular contexts. I conclude by synthesizing the issues presented and then raise some directions for future conceptual and methodological progress. (shrink)

Interpretations of the inner word overlook the fact that for Gadamer language is both written and spoken and that these two mediums are in a dialectical relation. After disputing Zimmermann’s interpretation of the inner word, the paper uses McLuhan to explain Gadamer’s dialectical method for understanding how thought that comes to language participates in the self-unfolding structure of a living organism. Central to this argument is a turn of the inner ear which in contrast to sensory memory based on sight (...) recollects the musical origins of language in acoustic space and renders the movements of a dialogue comparable to song. (shrink)

This paper outlines limitations to integrating social meaning into cognitive models of speech production and processing. The authors remind the reader that acoustic space is not the same as articulatory or auditory space and they point to the benefits of using relatively uncommon dynamic methods of acoustic analysis. Further, the authors argue in favor of a more complex and socially‐informed conception of ‘style’ than is typically used in work on language cognition.

Interpretations of the inner word overlook the fact that for Gadamer language is both written and spoken and that these two mediums are in a dialectical relation. After disputing Zimmermann’s interpretation of the inner word, the paper uses McLuhan to explain Gadamer’s dialectical method for understanding how thought that comes to language participates in the self-unfolding structure of a living organism. Central to this argument is a turn of the inner ear which in contrast to sensory memory based on sight (...) recollects the musical origins of language in acoustic space and renders the movements of a dialogue comparable to song. (shrink)

Increasingly privatized auditory spaces resulting from the mutual engendering of auditory cultural practices and sound technologies that separated the sense of hearing and segmented acoustic spaces have had a muting effect on our experience of Others that has intensified since the advent of mobile listening devices. In Section 1 of the article, I outline features of the social realm of the nineteenth to twentieth centuries that made modern sound technologies possible and then features of the technological realm that have (...) shaped today’s social realm – all with an eye toward our experience of other people. Then, in Section 2, I reach for a few phenomenological tools from the work of Jean-Paul Sartre, Emmanuel Levinas, and Don Ihde to draw out the phenomenological vectors that have taken shape within the enmeshed sociotechnological context described in Section 1. Specifically, I show how technologically mediated auditory experience has been individualized and how the use of sound technologies on the go – whether wearing earphones or in a car – has had a muting effect on our experience of others. (shrink)

TETRAD, OR THE FOURFOLD PATTERN OF CULTURAL TRANSFORMATIONS S u m m a r y This paper seeks to discuss the tetradic structure of cultural transformations effected by human artifacts. It was Marshall McLuhan’s main idea to think of our historical changes in terms of various modes of communication. Each mode introduces a new form of human interaction. The spoken word produced coherent communities. The written word caused fragmentation. McLuhan believed that electronic artifacts would restore the lost integrity. His tetradic (...) structure of cultural changes was inspired by Gestalt psychology with its key pair: figure—ground. McLuhan thought that humanity is resonating within this two elements evolving from the culture of the written word to the culture of the spoken word. Eventually, we shall found ourselves in the acoustic space. (shrink)

The alphabet effect that showed that codified law, alphabetic writing, monotheism, abstract science and deductive logic are interlinked, first proposed by McLuhan and Logan, is revisited. Marshall and Eric McLuhan’s insight that alphabetic writing led to the separation of figure and ground and their interplay, as well as the emergence of visual space, are reviewed and shown to be two additional effects of the alphabet. We then identify more additional new components of the alphabet effect by demonstrating that alphabetic (...) writing also gave rise to Duality, and reductionism or the linear sequential relationship of causes followed by effects. We then review McLuhan’s claim that electrically configured information reversed the dominance of visual space over acoustic space and led to the reversals of cause and effect, and figure and ground. We then demonstrate that General System Theory first formulated by Ludwig von Bertalanffy, which also includes chaos theory, complexity theory and emergence and Jakob von Uexküll’s notion of umwelt also entail the reversal of many aspects of the alphabet effect such as the reversals of cause and effect, and figure and ground. (shrink)

Several studies have demonstrated that individuals’ ability to perceive a speech sound contrast is related to the production of that contrast in their native language. The theoretical account for this relationship is that speech perception and production have a shared multimodal representation in relevant sensory spaces. This gives rise to a prediction that individuals with more narrowly defined targets will produce greater separation between contrasting sounds, as well as lower variability in the production of each sound. However, empirical studies that (...) tested this hypothesis, particularly with regard to variability, have reported mixed outcomes. The current study investigates the relationship between perceptual ability and production ability, focusing on the auditory domain. We examined whether individuals’ categorical labeling consistency for the American English /ε/–/æ/ contrast, measured using a perceptual identification task, is related to distance between the centroids of vowel categories in acoustic space and to two measures of production variability: the overall distribution of repeated tokens for the vowels and the proportional within-trial decrease in variability as defined as the magnitude of self-correction to the initial acoustic variation of each token. No significant associations were found between categorical labeling consistency and vowel contrast distance, between categorical labeling consistency and area of the ellipse, or between categorical labeling consistency and centering ratio. These null results suggest that the perception-production relation may not be as robust as suggested by a widely adopted theoretical framing in terms of the size of auditory target regions. However, the present results may also be attributable to choices in implementation that should be subject to further investigation. (shrink)

In previous research, acoustic characteristics of the male voice have been shown to signal various aspects of mate quality and threat potential. But the human voice is also a medium of linguistic communication. The present study explores whether physical and vocal indicators of male mate quality and threat potential are linked to effective communicative behaviors such as vowel differentiation and use of more salient phonetic variants of consonants. We show that physical and vocal indicators of male threat potential, height (...) and formant position, are negatively linked to vowel space size, and that height and levels of circulating testosterone are negatively linked to the use of the aspirated variant of the alveolar stop consonant /t/. Thus, taller, more masculine men display less clarity in their speech and prefer phonetic variants that may be associated with masculine attributes such as toughness. These findings suggest that vocal signals of men’s mate quality and/or dominance are not confined to the realm of voice acoustics but extend to other aspects of communicative behavior, even if this means a trade-off with speech patterns that are considered communicatively advantageous, such as clarity and indexical cues to higher social class. (shrink)

A sound in a real space (e.g. a street or a room) is studied by acousticians as the relationship between an anechoic signal and the reverberant sound field. We define ‘anechoic signal’ a signal representing the pressure variation emitted by the sound source, while the ‘reverberant field’ is a field representing the sum of all the sound reflections of the environment in which the sound exists, delayed in time due to the positions of the sound source and the listener. (...) The auditory ability of detecting a sound and assigning it to a source depends both on the anechoic signal and the reverberant sound field. This relationship has been analysed in acoustic literature using the autocorrelation properties of the anechoic signals and objective metrics of the sound field, the last ones being the ‘room criteria’ described in ISO 3382. In this context, the ‘effective duration’ of the autocorrelation function (τe) has been proposed as key factor to ‘preferred’ values of several room criteria in relation to different kind of music signals. Relying on some similarities between the definition of ‘auditory objects’ and the sound detection in a reverberant space, this paper proposes the use of τe as a potential tool to study and catalogue auditory objects. (shrink)

This book defends a radical new theory of contingency as a physical phenomenon. Drawing on the many-worlds approach to quantum theory and cutting-edge metaphysics and philosophy of science, it argues that quantum theories are best understood as telling us about the space of genuine possibilities, rather than as telling us solely about actuality. When quantum physics is taken seriously in the way first proposed by Hugh Everett III, it provides the resources for a new systematic metaphysical framework encompassing possibility, (...) necessity, actuality, chance, counterfactuals, and a host of related modal notions. -/- Rationalist metaphysicians argue that the metaphysics of modality is strictly prior to any scientific investigation; metaphysics establishes which worlds are possible, and physics merely checks which of these worlds is actual. Naturalistic metaphysicians respond that science may discover new possibilities and new impossibilities. This book's quantum theory of contingency takes naturalistic metaphysics one step further, allowing that science may discover what it is to be possible. As electromagnetism revealed the nature of light, as acoustics revealed the nature of sound, as statistical mechanics revealed the nature of heat, so quantum physics reveals the nature of contingency. (shrink)

The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno (...) at one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories. (shrink)