Sound Unseen explores the phenomenon of acousmatic sound-a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses.

Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of (...) acousmatic sound and acousmatic listening constitutes a strategy of disruption, challenging the traditional concept of the “animal” – an ideological and oppressive notion produced by dominant Western philosophical discourse. My reading gives close attention to what seems to be the barking of an unseen dog and its effects on human listeners, contending that, as the semiotic stability of the figure of the dog gradually erodes within Martel's cinematic territory, listening to the canine voice becomes an unsettling sensory-cognitive experience; the sound of the barks presents an irresolvable epistemic problem. I draw on Jacques Derrida's late writings on nonhuman animals, borrowing the term animot, to argue that Martel's film brings into audibility an animality irreducible plural: an alterity exceeding logocentric economies of knowledge. The film's experimental aesthetics and construction of narrative, I suggest, are concerned with perceiving and making perception itself perceptible, while exposing the limits of human perception – impassable limits marked by an animality which gradually withstands conceptual domestication. Through its use of acousmatic listening, La ciénaga expands our perception of ecological ontology. (shrink)

Thinking involves many elements of sound that philosophical tradition has repressed. Breathing, rhythms and collateral noises participate in the making of idealities, even the most abstract. In order to hear them, the voice needs to be considered as one sound among others and as multiple, even when it comes from the same speaker, following different protocols of enunciation. Listening to the recordings of seminars and studying the role played by modern sound technologies make it possible to hear (...) subterranean meanings and tensions at the heart of mental elaboration. Thinkers and writers could be defined by the way they handle the acoustic environments favourable to the way they speak and write, whether by selection, mixing or silence. An ‘acousmatic’ reading aims to listen to this sonic investment in texts and to hear the complex vibrations of their thought. (shrink)

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

In the course of his painstaking study of ancient verse, Ferdinand de Saussure came up with an intriguing theory about the phonetics of the poetry he scrutinised. He postulated that the “jeux phoniques” he detected in the texts he analysed was proof that their authors were attempting to “parasite” the surface level meaning of their verse with a “hypotexte.” This hypotexte consisted of “anagrams” of “mots thèmes” whose phonetic properties were “isosyllabically diffracted” throughout the rest of the host text. Today (...) it is generally accepted that Saussure was wrong about this. Few however maintain that what he discerned in the phonetic depths of the verse he auscultated was no more than the figment of a fertile imagination. But if this be so, what exactly had he detected? This paper maintains that what Saussure stumbled upon was the trace of a contribution made to ancient verse by melodically and metrically organised sounds. This was inevitable. Virtually all the texts he probed were “carmina sacra” that were composed to be sung and accompanied by music. This musical accompaniment had a decisive impact on the phonetics of the “lexemic” words in the Poetry that has survived. This is so because sung verse cannot “euphoniously” accommodate a musical accompaniment unless its phonetics constituents are selected, concatenated and intoned in such a way as to follow the melodic contours and rhythm patterns that modulate their articulation. In addition, the point of making verse consist both of melodically organised arrangements of sound and of organisations of sound in which one can recognise ordinary words was not simply ornamental. The real point was to bi-nature what one was hearing. In other words, the goal was to “over-signify” the usual meanings of the “logocentric” words in the verse with a separate but complementary meaning and narrative encoded in melodised tones and metered rhythms. Why qualify the accompanying music as “acousmatic voices”? Because the music in question was added to song to give a voice to whichever tutelary divinity the song was performed to honour. That’s what makes “acousmatic voices” an especially apt epithet for characterising the melodically and rhythmically structured bodies of sound Saussure so presciently discerned in the phonetic depths of the poésie phonisante he probed. The point of their being in poetry was to give a voice to the agencies to whom the object or occasion of verse is beholden for its Being-in-the-world. (shrink)

This text is based on an image that, in some ways, can be understood only in terms of sound. In the lonely darkness of a movie theatre, the audience spends ninety minutes gazing at a single image: that of a rubber dinghy drifting aimlessly on a vast expanse of water.This is the rare challenge posed by German filmmaker Philip Scheffner with his documentary Havarie: viewers are asked to focus on a single image while listening to a variety of sounds (...) – especially the voices of many nameless individuals discussing their own drifting journeys.A few years ago, Scheffner happened “totally by accident” to come across a cellphone video on YouTube lasting three minutes and thirty-six seconds; it was titled simply “refugees”... (shrink)

Sound has given rise to many rich theoretical reflections, but when compared to the study of images, the study of sound continues to be marginalized. How is the “sense” of sound constituted and elaborated linguistically, textually, technologically, phenomenologically, and geologically, as well as acoustically? How is sound grasped as an object? Considering sound both within and beyond the scope of the human senses, contributors from literature, film, music, philosophy, anthropology, media and communication, and science and (...) technology studies address topics that range from Descartes’s resonant subject to the gendering of hearing physiology in the nineteenth century, Cold War politics and the opera _Nixon in China_, sounds from the Mediterranean, the poetics of signal processing, and the acousmatic voice in the age of MP3s. In the interpretive challenges posed by voice, noise, antinoise, whispering, near inaudibility, and silence and in the frequent noncoincidence of emission and reception, sound confronts us with what might be called its inhuman qualities—its irreducibility to meaning, to communication, to information, and even to recognition and identification. _Rey Chow_ is Anne Firor Scott Professor of Literature at Duke University. She is the author of _The Age of the World Target _and_ Modern Chinese Literary and Cultural Studies in the Age of Theory_, both_ _published by Duke University Press. _James A. Steintrager _is Professor and Chair of English at the University of California, Irvine. _ Contributors:_ Caroline Bassett, Eugenie Brinkema, Iain Chambers, Michel Chion, Rey Chow,_ _Mladen Dolar, Veit Erlmann, Evan Johnson, Christopher Lee, Mara Mills, John Mowitt, Dominic Pettman, Tara Rodgers, Nicholas Seaver, James A. Steintrager, Jonathan Sterne. (shrink)

Is an exploration of the metaphysics of sound, arguing that sounds are not properties of the objects that emit them but ‘secondary objects’, which can be isolated in an ‘acousmatic’ experience as ‘pure events’, with an internal spatial order.

The depiction of stones that speak has long been used as a literary and philosophical device to reflect upon the limitations of human language (i.e., language as a petrification of thought and action). Jacques Rancière has described stone’s capacity to bear witness as a form of “mute speech,” noting how “any stone can also be language,” as a part of the “testimony that mute things bear to mankind’s activity.” In exploring the character of this form of testimony, and asking how (...) we hear it, this article examines the function of the Stone Guest in the legend of Don Juan, across Molière’s and Pushkin’s theatrical versions, a short film version by Marina Fomenko, and Mozart and Da Ponte’s operatic version, so revered by Kierkegaard and others. The character of the Stone Guest is often seen as casting judgement against the aesthetic mode of life, yet the power of the character lies not in his ghostly humanity or sense of retribution, but in his stoniness – his capacity to bear witness, just as a stone monument bears witness or commemorates a past trauma. In a number of versions of the Don Juan story, the Stone Guest is announced by approaching footsteps or knocking. This acousmatic device mirrors the uncanny separation of sound and source in opera – the way in which music mediates between the conflicting imperatives of language and the corporeal or material aspects of the singing voice, lending opera its vaunted mechanical qualities. Using stones that speak as a heuristic, the article draws together ideas about the limitations of language and the mechanical qualities of opera in order to excavate the auditory affordances of the stone’s form of testimony, in all its inorganic liveliness. (shrink)

Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the (...) fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti-mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non-acousmatic sound art with the essentially acousmatic art of music. (shrink)

Musicians and theorists such as the radiophonic pioneer Pierre Schaeffer, view the products of new audio technologies as devices whereby the experience of sound can be displaced from its causal origins and achieve new musical or poetic resonances. Accordingly, the listening experience associated with sonic art within this perspective is ‘acousmatic’; the process of sound generation playing no role in the description or understanding of the experience as such. In this paper I shall articulate and defend a (...) position according to which an adequate phenomenology of auditory experience must refer to mechanisms of sound generation. This position is shown to follow from a phenomenology of sounds as located events and a physicalist account of auditory properties as features of the temporal development of such events. (shrink)

According to the acousmatic thesis defended by Roger Scruton and others, to hear sounds as music is to divorce them from the source or cause of their production. Non-acousmatic experience involves attending to the worldly cause of the sound; in acousmatic experience, sound is detached from that cause. The acousmatic concept originates with Pythagoras, and was developed in the work of 20th century musique concrète composers such as Pierre Schaeffer. The concept yields important insights (...) into the nature of musical experience, but Scruton's version of the acousmatic thesis cannot overcome objections arising from timbral and spatial aspects of music, which seem to relate sounds to the circumstances of their production. These objections arise in part from music's status as a performing art rooted in human gesture and behaviour. Hence I defend a two-fold thesis of "hearing-in", which parallels Richard Wollheim's concept of "seeing-in": both acousmatic and.. (shrink)

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

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting (...) point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers. (shrink)

This article starts out by introducing the category of the ‘one-character film’ — that is, narrative feature films that rely on a single onscreen character. One-character films can range from extremely laconic movies entirely focused on the action in the narrative here-and-now via highly talkative films that revolve around soliloquies of self-reflection, questioning of identity and a problematizing of the narrative past to strongly dialogue-heavy films that — via phones and other telecommunication devices — reach far beyond the depicted scene. (...) It is on the latter that the article eventually focuses. Films like Buried, Locke or The Guilty centrifugally thrust the viewers into a simultaneous present that remains invisible and that they have to imagine in sensory ways. Imagining this invisible elsewhere, which I call mise en esprit, can be facilitated and evoked through various cinematic means such as reduced within-modality-interference, suggestive verbalizations, acousmatic voices and sound effects. (shrink)

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

Clinics and hospitals around the globe are offering stem cell treatments to persons with serious conditions for whom no effective therapies are available in their home countries. Many of these treatments, which are touted as cures for such conditions as Parkinson's and Alzheimer's Diseases, multiple sclerosis, and spinal cord injuries, have not gone through clinical trials that establish their safety and efficacy. Indeed, it is unclear whether some of them even utilize stem cells. State regulation of these therapies tends to (...) be weak or nonexistent in some of the countries in which they are offered. This puts those who believe they must travel abroad for stem cell treatments at risk of injury from procedures that .. (shrink)

In the recent literature on the nature of sound, there is an emerging consensus rejection of what might be thought of as the scientifically informed commonsense position: that sounds, whatever else they may be, must be entities that mediate between the source of the sound and the subject hearing it. This paper offers an argument for such "medial" theories of sound. This argument is intended to shift attention from the two considerations that have dominated the debate thus (...) far: the relevant scientific facts about audition and the spatial phenomenology of auditory experience. (shrink)

Cinema serves as a mirror, reflecting the development or state of society. It plays an important function in entertainment and education and can bring about a shift in our perspectives and attitudes. The article includes a descriptive analysis of Deaf Culture as a prominent subject in the movies Sound of Metal () and CODA () and clarifies the most prevalent misconceptions about disability in both films. In recent years, filmmakers have made an effort to create true and authentic representations (...) of Deaf Culture, moving beyond the notion of a tokenized portrayal of the Deaf. They shifted the emphasis away from unwarranted sympathy towards perceptive analyses of Deaf characters with the aim of dismantling the embarrassing perception of deafness. Filmmakers have provided the Deaf population with a voice by giving real-life Deaf performers a place in mainstream cinema. Even though many efforts have been made, the article also shows that the mainstream media have not generally represented the Deaf Community favourably. Furthermore, the article looks at the psychological conflict that arises when hearing people and hearing-impaired people share the same room. (shrink)

Discussion of J. Kevin O’Regan’s “Why Red Doesn’t Sound Like a Bell: Understanding the Feel of Consciousness” Content Type Journal Article Pages 1-20 DOI 10.1007/s13164-012-0090-7 Authors J. Kevin O’Regan, Laboratoire Psychologie de la Perception, CNRS - Université Paris Descartes, Centre Biomédical des Saints Pères, 45 rue des Sts Pères, 75270 Paris cedex 06, France Ned Block, Departments of Philosophy, Psychology and Center for Neural Science, New York University, 5 Washington Place, New York, NY 10003, USA Journal Review of Philosophy (...) and Psychology Online ISSN 1878-5166 Print ISSN 1878-5158. (shrink)

There is one character too many in the triad sound, event source, thing source. As there are neither phenomenological nor metaphysical grounds for distinguishing sounds and sound sources, we propose to identify them.

Loudness is the magnitude of the auditory sensation that a listener experiences when exposed to a sound. Several sound attributes are reported to affect loudness, such as the sound pressure level at the listener's ears and the spectral content. In addition to these physical attributes of the stimulus, some subjective attributes also appear to affect loudness. When presented with a sound, a listener interacts with an auditory object and can focus on several aspects of the latter. (...) Loudness appears to differ depending on how listeners apprehend this object, notably whether they focus on the sound that reaches their ears or that is produced by the source. The way listeners focus on the auditory object may depend on the stimulus itself. For instance, they might be more likely to focus on the sound emitted by the source if the latter is visible. The instructions given by the experimenters can also explicitly direct the listener's focus on the sound reaching the ears or emitted by the source. The present review aims at understanding how listeners focus on the auditory object depending on the stimuli and instructions they are provided with, and to describe how loudness depends on this focus. (shrink)

Since the late 1990s, the number of apologies being offered by CEOs of large companies has exploded. Communication and management scholars have analyzed whether and why some of these apologies are more effective or more ethical than others. Most of these analyses, however, have remained at the anecdotal level. Moreover, the practical, economic consequences of apologies have not been examined. Almost no rigorous or systematic empirical work exists that examines whether stakeholders reward firms whose CEOs give apologies that are more, (...) rather than less, ethical; and punish firms whose corporate apologies are not ethically sound. This lacuna is surprising given that the whole purpose of an apology is to restore trust between the apologizer and the recipients of the apology. It is also surprising, given that stock market participants do appear, in at least some cases, to evaluate and respond to apologies by CEOs. When Johnson and Johnson was hit by the Tylenol poisonings, its stock price plummeted. One day after CEO James Burke’s apology—an apology widely praised for being ethically sound—approximately a half billion dollars of its previously lost stock value was restored. It appears, then, that a good CEO apology may lead to an increased stock value ceteris paribus. But is the Johnson and Johnson case representative of how the market responds in general to CEO apologies? (shrink)

In recent years, apparently the Big Bang as described by the Lambda CDM-Standard Model Cosmology has become widely accepted by majority of physics and cosmology communities. Even some people have concluded that it has no serious alternative in horizon. Is that true? First, as we argued elsewhere, Big Bang story relies on singularity. In other words, when we are able to describe the observed data without invoking singularity, then Big Bang model is no longer required. Therefore, here we explore a (...) few alternative stories other than Big Bang story, which most cosmologists believe it is the nearest to Biblical account of creation. We would argue that re-reading of Genesis 1:2 will lead us to another viable story, albeit the alternative has not been developed rigorously as LCDM theories. We also briefly discuss a fluid Maxwell equations of Prof. Tsutomu Kambe based on vortex sound theory. (shrink)

Certain nonwords, like maluma and takete, are associated with roundness and sharpness, respectively. However, this has typically been demonstrated using explicit tasks. We investigated whether this association would be detectable using a more implicit measure—a sequential priming task. We began with a replication of the standard Maluma/Takete effect before examining whether round and sharp nonword primes facilitated the categorization of congruent shapes. We found modest evidence of a priming effect in response accuracy. We next examined whether nonword primes affected categorization (...) of ambiguous shapes, using visual and auditory primes. We found that ambiguous shapes were categorized as round more often following the presentation of a round nonword. This suggests that phonemes may activate related shape information which then affects the processing of shapes, and that this association emerges even when participants are not explicitly searching for it. (shrink)

I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best achieved (...) with examples from auditory perception, especially our perception of music. (shrink)

This paper examines the proposition that adopting a socially responsible, or philanthropic, management posture is not antithetic to the capitalist business model but rather can be seen as a sound approach to the development of long-term sustainability in business in a modern business environment, wherein a strand of corporate social responsibility is one core aspect of the composite utility function of the modern business. We suggest further that for many of the prominent/significant examples of the successful adoption of a (...) policy of informed benevolence in the management of employees that policy seems to be faith rooted – be that faith Christian, Buddhist, Jewish, Muslim or other. Indeed, even if one observed an organisation subject to an humanist or even atheistic based socially responsible management, one could see that as being rooted in that organisation’s ‘non-faith’ faith, or ethical bubble. Our argument also gives the lie to the proposition, in currency in some circles, that the term ‘business ethics’ is an oxymoron. To underpin the argument we cite examples (/set out mini-cases, or a mixture of these) from a range of faith based traditions including, Buddhism, the Quaker-Christian tradition, Judaism and Islam. (shrink)

Analogies between hearing and seeing already existed in ancient Greek theories of perception. The present paper follows the evolution of such analogies until the rise of 17th century optics, with due regard to the diversity of their origins and nature but with particular emphasis on their bearing on the physical concepts of light and sound. Whereas the old Greek analogies were only side effects of the unifying concepts of perception, the analogies of the 17th century played an important role (...) in constructing optical theories by imitation of acoustic theories, or vice versa. This transition depended on several factors including the changing relations between optics, music, mathematics, and physics, the diversity of early modern concepts of sound, and the rise of a new physics based on experimentation and mechanical explanation. (shrink)

In this paper I argue that the free-market provision of health care is both practical and morally sound, and is superior in both respects to its provision by the State. The State provision of health care will be inefficient compared to its free-market alternative. It will thus provide less health care to persons for the same amount of expenditure, and so save fewer lives and alleviate less suffering for two reasons: state actors have no incentive to husband their resources (...) effectively, and that in a non-market setting, special interest groups can capture resources through lobbying, perverting them away from their efficient allocation. Given these considerations of efficiency a utilitarian should morally prefer the free-market provision of health care to its State-based rival. Furthermore, even if one is not a utilitarian, the free-market provision of health care will be more morally sound than its State-based alternative because it will likely better respect the autonomy of persons, and will better refrain from imposing values upon persons. With these points in hand, I address two prominent objections to a free market system of health care. (shrink)

There is growing interest in the effect of sound on visual motion perception. One model involves the illusion created when two identical objects moving towards each other on a two-dimensional visual display can be seen to either bounce off or stream through each other. Previous studies show that the large bias normally seen toward the streaming percept can be modulated by the presentation of an auditory event at the moment of coincidence. However, no reports to date provide sufficient evidence (...) to indicate whether the sound bounce-inducing effect is due to a perceptual binding process or merely to an explicit inference resulting from the transient auditory stimulus resembling a physical collision of two objects. In the present study, we used a novel experimental design in which a subliminal sound was presented either 150 ms before, at, or 150 ms after the moment of coincidence of two disks moving towards each other. The results showed that there was an increased perception of bouncing when the subliminal sound was presented at or 150 ms after the moment of coincidence compared to when no sound was presented. These findings provide the first empirical demonstration that activation of the human auditory system without reaching consciousness affects the perception of an ambiguous visual motion display. (shrink)

Rudolph Koenig's workshop was a busy meeting place for instruments, ideas, experiments, demonstrations, craft traditions, and business. Starting around 1860, it was also the place in Paris where people discovered the new science of sound emerging from the studies of Hermann von Helmholtz in Germany. Koenig built Helmholtz's ideas into apparatus, created new instruments, and spread them throughout the scientific and musical world. Through his own research, he also became Helmholtz's strongest critic. This paper looks at the activities of (...) this unique space and, in particular, how it contributed to the protracted disputes over an elusive acoustical phenomenon called the combination tone. (shrink)

Preference utilitarians are concerned to maximize the autonomous choices of individuals; for this reason, they argue that nurses ought to advocate for those patients who desire assistance with ending their lives. This approach prompts us to consider, then, the moral validity of nursing involvement in measures intended to end the lives of patients. In this article, the terms of preference utilitarianism are set out and considered in order to determine whether this approach offers sufficient philosophical support for sanctioning a role (...) for nursing in euthanasia. Ultimately, it is found that preference utilitarianism is lacking in this respect, as well as in its fitness for guiding nursing activity in general. In particular, it is found that nurses are required to exchange a handmaiden relationship with the medical profession for an equally undignified relationship with patients. If nursing involvement in measures intended to end the lives of patients is to find sufficient philosophical support, then we need to look elsewhere. (shrink)