This paper determines the acoustic properties of external wall building materials composition. Noise pollution is one of the main pollutants nowadays but it is not considered of great importance in the construction field, despite some studies showing that greater acoustic pollution is produced by buildings under construction. The study consists of analysing two different types of buildings equipped with a different type of external masonry composition in terms of building materials. The buildings are located at “21 Dhjetori” (...) street, Tirana, Albania. Furthermore, the case study area is treated as an area that consistently harvests noise. The impact of noise pollution on the existing building materials is going to be analyzed. Those milestones will provide information regarding the noise levels, a comparison of the actual level of noise production (outdoor and indoor areas), sound transmission, and sound diminution, as well as the implementation of acoustic materials in order to improve the quality of life of the inhabitants. The selected area has the highest norms of acoustic pollution in the city according to the studies implemented by Determination of acoustic properties of building materials is an important task gaining higher importance due to the demand for suitable construction materials, located in places with high levels of noise and places with heavy traffic, such as in urban areas. The aim of this paper is to display a comparative study of the actual noise levels generated by this area. It indicates the acoustic properties of the current building materials followed by a more suitable soundproof insulation. (shrink)

Acoustic pollution is one of the main pollutants nowadays but it is not considered of great importance in the construction field, despite some studies showing that most of acoustic pollution is produced by buildings under construction and roads with high traffic. The aim of the paper is to compare the noise levels at different time of the day in two different buildings which have different characteristics and different construction materials. The goal is to understand how well sound (...) isolated civil buildings are and how engineers have calculated the noise levels based on the specific area. The buildings are located at “Zogu Zi”, Tirana, Albania. The case study area is an area that consistently harvests noise from heavy traffic. The impact of the noise and the sound insulation materials in the wellbeing of the inhabitance is going to be analyzed too. The aim of this paper is displaying a comparative study on the actual noise levels generated by this area. It indicates the acoustic properties of the current building materials followed by a more suitable soundproof insulation. (shrink)

This article compares the material pollution of life's elementary resources, i.e., water, soil, and air, with the semiotic pollution of the elementary resources of sign-processes, i.e., channel, sign-matter, and message; code, signifier, and signified; as well as context, sender, and recipient. It is claimed that semiotic pollution interferes with sign-processes as much as material pollution interferes with the fundamental processes of life; both types of pollution are similar in that they produce stress for human beings (...) in current societies. It is argued that semiotics is able to provide the conceptual tools necessary to develop policies that can reduce semiotic pollution. As is shown, however, additional research is required to operationalize and metricize generalized concepts of semiotic pollutionsuch as "channel-related", "semiosis-related", and "situation-related noise". (shrink)

This article compares the material pollution of life's elementary resources, i.e., water, soil, and air, with the semiotic pollution of the elementary resources of sign-processes, i.e., channel, sign-matter, and message; code, signifier, and signified; as well as context, sender, and recipient. It is claimed that semiotic pollution interferes with sign-processes as much as material pollution interferes with the fundamental processes of life; both types of pollution are similar in that they produce stress for human beings (...) in current societies. It is argued that semiotics is able to provide the conceptual tools necessary to develop policies that can reduce semiotic pollution. As is shown, however, additional research is required to operationalize and metricize generalized concepts of semiotic pollutionsuch as "channel-related", "semiosis-related", and "situation-related noise". (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)

In the last decade, many arguments have emerged for encouraging public participation in environmental policy making and management While some have argued that, in democratic societies, people simply have a right to a participatory role, others base arguments for public participation on the idea that lay people may have access to knowledge which is unknown to officially sanctioned experts. Local people may count as experts about aspects of their neighbourhood or they may have insights into the behaviour of plant operators (...) that is thought to give rise to pollution. This paper reports on a novel empirical approach to analysing and capturing such 'lay' understandings. This technique, developed in ESRC-funded work in the UK, uses community mapping exercises in urban centres to produce spatial representations of local knowledges about air pollution and related problems of noise and odour. In the paper the technique is outlined, presenting data from the three-city case study. The paper concludes by assessing the ways in which participatory modelling can contribute to the local governance of air quality. (shrink)

As overdevelopment, noise pollution, and land use become considerations in modern life, we become more thoughtful of the quality of our environments, whether the space is for recreation, education, or residential living. Demonstrating how such tenets as "to each his own" have contributed to the demise of our public spaces, Environmental Aesthetics is the first integrated study of this emerging field. Beginning with a brief history of aesthetics, the author explores the concept of landscape, the psychology of human-environment (...) relations, the influences of literary, artistic and legal activism, and the roles of public policy and of planning. Clearly written and lavishly illustrated, the book will prove invaluable to anyone interested in how the physical environment can and should be improved. (shrink)

Tirana, immediately after it was declared the capital of Albania on 11 February 1920, has undergone many changes in its morphology and city context. The capital is located in the heart of the country. During its lifespan, Tirana has adopted four important regulatory plans starting from 1923. The Western ideologies of the time influenced drastically the city development. The influence of such ideologies was stopped immediately though the imposition of communist ideas, after the Second World War. Rational building forms were (...) created which could be standardized in order to reduce construction costs. Meanwhile, in Western Europe, this current was implemented during the 1920s, as a response to social problems. The communist regime established strict anti-urbanization policy that aims to foster the development of rural areas and the suburban industrial districts in order to control urban growth and demographic mobility. All the regulatory master plans of Tirana, climate data of the city, the actual situation of the specific neighborhood, its orientation toward north, are considered in order to gather information and to implement the correct bioclimatic eco-renovation in the area. A special attention will be given to the underground tunnels which were constructed during the communist regime all over the city (1945–1983) as a response to a hypothetic nuclear attack, in order to shelter the inhabitance against bombing. These reinforced concrete tunnels will serve not only as an area for water collection and recycling strategies but also for cooling with zero energy expenditure for the inhabitants as a consequence of differences in temperature and air pressure. This strategy benefits from the underground air temperature in both seasons (winter and summer). It envisages the handover of these tunnels by the community. Nowadays, such structures are abandoned and denigrated. The realization of these structures required large amounts of money from the state budget. Considering that fact they need to be vitalized and reused, using different methodologies and strategies as part of the city. After the communist regime in the city of Tirana, two other regulatory plans were implemented which observe the city from another perspective, determining and evaluating Tirana’s real values as a city of the future, but not defining yet Tirana as an Ecocity. The ecological potential of Tirana including its outskirts is to be considered. Its flora and fauna are very rich, containing a mixt of species and plants. Regardless, the city of Tirana is suffering from different kinds of pollution such as air and noise pollution which are above EU and WHO norms. Tirana benefits from a Temperate Mediterranean climate. Furthermore, the benefits of the solar radiation are enormous. Unfortunately, nowadays, the city of Tirana is not profiting much from it. This chapter is in search of an overall view of the city of Tirana, and its great potential discovering its underground and upper ground historical secrets. (shrink)

This article highlights the challenge of environmental inequality in France within the framework of social-ecology, an approach relating ecological crises to social issues, especially inequality. It starts by defining the notions of environmental inequality and environmental justice within the framework of the; ‘capability approach’ and then reviews recent empirical studies that show how air pollution, chemical and noise pollutions, access to environmental resources and exposure to social-ecological disasters are socially differentiated in France and can be understood, under the (...) definition adopted in this article, as a form of injustice. It concludes by reviewing issues raised by environmental inequality in France and exploring policy solutions able to address this challenge. (shrink)

Excessive dog barking is among the leading sources of noise pollution world-wide; however, the reasons for the annoyance of barking to people remained uninvestigated. Our questions were: is the annoyance rating affected by the acoustic parameters of barks; does the attributed inner state of the dog and the nuisance caused by its barks correlate; does the gender and country of origin affect the subjects’ sensitivity to barking. Participants from Hungary (N = 100) and Brazil (N = 60) were (...) tested with sets of 27 artificial bark sequences. Subjects rated each bark according to the inner state of the dog and the annoyance caused by the particular bark. Subjects from both countries found high-pitched barks the most annoying: however, harsh, fast-pulsing, low-pitched barks were also unpleasant. Men found high-pitched barks more annoying than the women did. Annoyance ratings showed positive correlation with assumed negative inner states of the dog, positive emotional ratings showed negative correlation with the annoyance level. This is the first indication that acoustic features that were selected for effective vocal signalling may be annoying for human listeners. Among the explanations for this effect the role of affective communication and similar bioacoustics of particular animal vocalizations and baby cries are discussed. (shrink)

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)

The relevance of the research is the intensity of noise emitted by lorries depends on the regime of the vehicle movement. One of the main negative factors caused by road vehicles is air pollution with exhaust gases. The article presents results for noise caused by lorries and gas usage while the vehicle is accelerating. The subject of the study is 4 lorries, and they also feature fuel recording systems which are less than 5 years old. Research methodology. (...) The level of noise emitted by heavyweight transport vehicles is measured according to Lithuanian standard LST ISO 1996-2:2008 requirements. During the tests the noise levels of L A,eq, L C,eq, L C,peak were measured. The tests were done 5 times each and the results are presented as arithmetical averages. Fuel consumption is registered in vehicle data registration system. The researched vehicles have to comply with environmental safety normative requirements; that the vehicle carbon monoxide, particulate matter, nitrogen oxides, unburned fuel and other hazardous substances contained in the combustion gases must not exceed the prescribed limits. The results of the experimental studies show that EURO6 lorries noise level is the lowest compared to the EURO4 and EURO5. After carrying out the analysis of the caused noise and gas usage, it was found that noise pollution and gas usage are higher without speed control system. The noise caused by lorries can be described in square polynomial which defines the noise inclination change while vehicle is accelerating. Scientific novelty of the research a complex research on noise and fuel consumption of lorries by using and not using speed control system. Research idea and problem is to achieve sustainable transport development objectives, in particular the reduction of greenhouse gas emissions under the Kyoto Protocol. It is very important to find ways to forecast and reduce transport noise pollution, while also reducing overall pollution, as well as mitigating the impact on the global climate., Conclusion – after conducting a lorry noise and fuel consumption analysis, it was determined that not using speed control system increases the noise and fuel consumption and if the system is used both of these factors decrease drastically. (shrink)

Pollution, higher traffic noise, or a poisoned river are all examples of externalities---costs which are imposed by an action but which are not built in to the price of that action. One of the problems of economic theory is whether, when analysing the desirability of a new road, for example, the costs that occur as externalities can be fully incorporated into the price of that road. Dr Andreas Papandreou has provided a book which fully explains and analyses the (...) ideas lying behind the theory of externalities. Papandreou has made a survey of the various methodological approaches taken by economists to the issue of eternalities, and the failure of some markets to reconcile individual and social costs and benefits. He tackles the difficult issue of defining or characterizing externalities, surveys the current literature, and investigates the effect that externality theory has had on major economic issues. His major theme is an exploration of institutional inefficiency and the implications of incorporating organizational costs into economic models. Written in a non-technical style, this book is suitable not only for those economists who make a study of externalities, but for those who need to understand the theory for their own fields of research, and for postgraduate students. (shrink)

A stochastic prey-predator system in a polluted environment with Beddington-DeAngelis functional response is proposed and analyzed. Firstly, for the system with white noise perturbation, by analyzing the limit system, the existence of boundary periodic solutions and positive periodic solutions is proved and the sufficient conditions for the existence of boundary periodic solutions and positive periodic solutions are derived. And then for the stochastic system, by introducing Markov regime switching, the sufficient conditions for extinction or persistence of such system are (...) obtained. Furthermore, we proved that the system is ergodic and has a stationary distribution when the concentration of toxicant is a positive constant. Finally, two examples with numerical simulations are carried out in order to illustrate the theoretical results. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:At the Beginning, There was the MaskFrançoise Vergès (bio)There is a long history to be told about the links between the economy of extractivism and exhaustion, between colonialism, race, capitalism, imperialism, and breathing, which could be summarized as the "struggle against suffocation and for life." Colonialism (slavery and post-slavery), race, and capitalism are all about un-breathing, about the toxicity of social, cultural, sexual and "natural" environments, about silencing, erasing (...) voices, cutting tongues, forbidding speech, fabricating a deadly form of quietude, requiring mute consent to injustices and inequalities. They play on restricting human lungs and on colonizing the lungs of the planet. In their world, one no longer breathes freely, one can no longer finds her voice, one learns to whisper. It is not the whisper of underground resistance, of words circulating from mouth to mouth to signal where is the next refuge, the next sanctuary, the cache for arms, the false papers, the hidden routes of escape and marooning. It is the murmur of someone beaten and tortured until mad with pain, when breathing has become an ordeal.When we say, "We are suffocating" or "The air has become unbreathable!" we are not just talking of polluted air but of the feeling of living in a deleterious and asphyxiating political regime, which involves social censorship and self-censorship. Fear sets in, we only speak in hushed tones. Under such a regime, political order demands civilized speech, disciplined expression; the authorized music is "national," "military," patriarchal, or of a reinvented tradition. The joy must be measured and the words of the songs and public speech be neutral or to the glory of the regime. The authoritarian regime may even appropriate a song of freedom as its hymn, a bitter paradox where the words of freedom are confiscated to justify oppression. The body is corseted, the voice muzzled, the lungs function faintly, they transcribe our feelings in their rhythm, accelerating or slowing down. When songs and cries of freedom nonetheless arise, defying the regime of silencing and un-breathing, they sharply shatter the feeling of physical and psychic suffocation, the feeling that words remain in our throat, that our voice cannot come out. Suddenly, we catch our breath. We respire, inhale, exhale, fill our lungs. And we reconnect [End Page 54] ourselves with the etymological meaning of respire: from Latin re (again) and spirare itself from Latin spiritus "a breathing (respiration, and of the wind), breath; breath of a god," hence "inspiration; breath of life," hence "life," also "disposition, character; high spirit, vigor, courage" (Harper). Life, vigor, and courage, the breathing of the oppressed break down the politics of suffocation."I can't breathe" were the last words of George Floyd, not long before exhaling his last breath. When across the world, during 2020, people were shouting in many languages, "I can't breathe" using all their breath, they were, by the thousands, making their voices heard, rupturing the silencing of racism. "I can't breathe" became a breathing cry. Breathing became resistance. Singing collectively was breathing together. The song soars from thousands of breasts. The human voice, alone or collective carries an emotional force within it, vibrates sensually. But one may say, this has been, and can still be, the expression of fascism, of toxic masculinity and lynching mobs. When is breathing a revolutionary practice then? When we retrace the racial history of suffocation and breathing, of the colonial/ imperialist military noise vs. songs of freedom, of breathing as a politics toward humanizing the world. In other words, when we show how polluted air and noise are central elements in racial and gendered exploitation and how the antiracist struggle against pollution and suffocation is a struggle against racial capitalism. When we learn that recent medical research links air pollution to delayed cognitive development, stunted growth, and reduced lung capacity in children, we understand that the pretense of the universal right to childhood is a lie. Racism condemns Black, Indigenous and Brown children to premature death. According to the World Health Organization, more people are dying every year of polluted air than of any other cause. The role of air pollution in neurodegenerative diseases such as... (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Nonlinear time series denoising is the prerequisite for extracting effective information from observation sequence. An effective chaotic signal denoising method not only has a good signal-to-noise ratio enhancement performance, but also can remain as a good unpredictable denoised signal. However, the inherent characteristics of chaos, such as extreme sensitivity to initial values and broadband spectrum, pose challenges for noise reduction of polluted chaotic signals. To address these issues, an adaptive smoothing multiscale morphological filtering is proposed to reconstruct chaotic (...) signals. In the process of noise reduction for contaminated chaotic signals, firstly, a multiscale morphological filter is constructed adaptively according to the multiscale permutation entropy of morphological filter residuals, and the contaminated signals are filtered. Secondly, the weight coefficients of scale structural element are calculated by the residual sum of squares operation, and the chaotic signals are reconstructed. Finally, the resampled filter signals are smoothed by cubic B-spline interpolation operation. In the experiment, the Lorenz signal with white Gaussian noise, the measured sunspot, and the chaotic vibration signal are reconstructed by four comparison methods. The test results show that the proposed ASMMF method has obvious advantages in noise suppression and topological trajectory restoration. (shrink)

The concern people are now expressing about the human environment, ecology, pollution, and overpopulation, though admittedly legitimate from a moral point of view, has not attracted much attention from philosophers. This is notable particularly inasmuch as the United States civil rights struggle, the Vietnam War, and various responses of civil disobedience and violence to social problems have all aroused philosophers to careful thought on rights and obligations. I do not want to suggest that a social problem is interesting only (...) if it is philosophically interesting; nor do I want to make light of the way in which the problems of waste, noise, and overcrowding have captured the popular imagination. Yes, we must protect and use wisely the human environment and natural resources. But still, saying it seems banal, and philosophers do not feed on banalities. Here we have a modern moral commandment which speaks to an urgent and serious matter but which, like “Do not steal,” seems so obvious as to be trite. Yes, we must plan the world’s population in a rational way. Even that commandment, though disputed by some, seems trite. (shrink)

The soundscape, which is defined as the entire acoustic environment of an area, is a relevant biosemiotic ingredient of environmental complexity. It is composed of geophonies, anthrophonies, and biophonies where, in temperate biomes, birds are the major producers of the latter. The soundscape is heterogeneous in terms of space and time, and is affected by landscape features such as vegetation cover. It also operates as a communication network in which intra- and inter-specific interactions create a complex, eavesdropping-broadcasting network, namely, the (...) soundtope. This acoustic context provides public information for tracking resources like territory, mates, food, safety, and roosting sites and it can be considered a multifunctional eco-field. The Acoustic Complexity Index is a new metric that is used to efficiently process the sound files that, when collected by sampling matrixes, return by interpolation the spatial distribution of a soundscape. High quality soundscapes are sought to guarantee the biosemiotic mechanisms among species, but polluted conditions degrade and mask biophonies, thus reducing communication efficiency, with severe consequences for both individual and collective fitness. Preserving high quality soundscapes is therefore an important conservation issue and a target to aim for if we are to assure animal and human wellbeing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Environmental Justice: Creating Equality, Reclaiming DemocracyAvner De-Shalit (bio)Environmental Justice: Creating Equality, Reclaiming Democracy, by Kristin Shrader-Frechette. Oxford and New York: Oxford University Press. 2002. Pp. 269 including index. ISBN: 0-19-515203-4.At the very last page of her book Kristin Shrader-Frechette writes: "We fail to recognize that unless we are the agents of democracy and social reform, there will be neither democracy nor social reform." This is such a short (...) sentence, and yet it is so important. Shrader-Frechette writes this book in order for us the readers to be moved both philosophically and politically speaking. It is a Socratic way of shocking the student, and causing her to reflect upon the way she has conceived things, the way she has interpreted the world. This is not an easy book to read—it is more like watching a violent film: it tells us about greediness, cruelty, misery, cynicism, and the like. But just like watching a good film, after reading the book one cannot remain indifferent.This book, then, is not a typical neutral piece of philosophy or social science. Shrader-Frechette has an agenda on her mind, and she claims that not only is it wrong not to do something to stop environmental injustice, but in fact people have a duty to be active, politically speaking (see especially [End Page 140] pp. 195-7). Indeed, it is about time environmental philosophers realize that they have a social obligation not to remain unconcerned. Their first weapon is their philosophical tools, which they should employ to reveal and criticize what is going on. In this case, for example, Shrader-Frechette not only describes many cases of environmental injustice, but she also eloquently analyzes the arguments that are used by those opposing policies that are meant to rectify environmental disadvantages. Her position is unequivocal: environmental injustice is wrong because it is immoral, and because it discriminates against people, often the more vulnerable. Environmental injustice is defended by arguments which are philosophically flawed and morally repugnant. However, there are growing cases of environmental injustice because there are strong interests behind them, and because the more powerful can exploit the vulnerability of those marginalized by society. The reader can hear the echo of the French novelist Emile Zola's famous article, apropos of the Dreyfus affair: "J'accuse."What is 'environmental justice'? Often goods (e.g., cheaper electricity or faster cars) are manufactured with an environmental cost (pollution). Obviously, one relevant question is whether we need these goods. Let us assume that society decides we do. Sometimes this production ends up in severe injustice. Sometimes only the rich enjoy the benefits (e.g., faster cars) while the entire population pays the cost (more air pollution, more noise). Sometimes it is the case that society in general enjoys the benefits (e.g., cheaper electricity). Nevertheless, only a small group bears the cost.Why is the cost so unevenly distributed? First, pollution and hazardous waste must be treated by professionals so it is transferred to, and concentrated in several locations to be treated. This exposes the populations that live there to very high levels of pollution. These people, then, face risks to their health and well-being, which other people do not have to face.Furthermore, when this happens house prices in the area usually fall, and these people are trapped there: so sharp is the fall in house pricing in their area that they cannot move to another, cleaner, or safer place, because whatever price they will get for their houses won't allow them to buy a decent house in cleaner areas. Once the process has started, even more pollution is attracted to this place. This is partly due to market forces: buying burial space for hazardous waste becomes very cheap in these locations, and therefore more and more firms use these locations for the burial [End Page 141] of hazardous waste. However, there is a second reason for this: it seems that the authorities and committees that decide where to send the waste to, are formed by middle class people who are less likely to live in those locations. It is an empirical fact... (shrink)

As more wind energy projects are constructed and placed into operation, their potential downsides are becoming more apparent to a larger number of people. One of the most contentious issues is that of the potential loss of property values for those who happen to own homes close to these projects. This issue may be more parochial and therefore seemingly less important than larger global issues, such as energy independence, sustainability, or global warming. But for those most directly affected by these (...) projects, it can serve as a single proxy for all the other local concerns with wind turbines, such as noise, visual pollution, and health. Moreover, rural homeowners vote in high numbers, and in those locations where there is still local control of wind energy projects, the local politicians will eventually reflect those concerns. The wind energy industry counters these concerns by quoting from a series of industry and government studies that claim to show that proximity to wind turbines does not materially affect home prices. However, their efforts at allaying the concerns of the local homeowners have not been very successful. This article discusses some of the reasons why the industry has been unsuccessful at quelling these concerns, including an evaluation of the evidence from both sides of the wind energy debate as a homeowner might see it and ends with suggestions on how the industry might allay these concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Environmental Justice: Creating Equality, Reclaiming DemocracyAvner De-Shalit (bio)Environmental Justice: Creating Equality, Reclaiming Democracy, by Kristin Shrader-Frechette. Oxford and New York: Oxford University Press. 2002. Pp. 269 including index. ISBN: 0-19-515203-4.At the very last page of her book Kristin Shrader-Frechette writes: "We fail to recognize that unless we are the agents of democracy and social reform, there will be neither democracy nor social reform." This is such a short (...) sentence, and yet it is so important. Shrader-Frechette writes this book in order for us the readers to be moved both philosophically and politically speaking. It is a Socratic way of shocking the student, and causing her to reflect upon the way she has conceived things, the way she has interpreted the world. This is not an easy book to read—it is more like watching a violent film: it tells us about greediness, cruelty, misery, cynicism, and the like. But just like watching a good film, after reading the book one cannot remain indifferent.This book, then, is not a typical neutral piece of philosophy or social science. Shrader-Frechette has an agenda on her mind, and she claims that not only is it wrong not to do something to stop environmental injustice, but in fact people have a duty to be active, politically speaking (see especially [End Page 140] pp. 195-7). Indeed, it is about time environmental philosophers realize that they have a social obligation not to remain unconcerned. Their first weapon is their philosophical tools, which they should employ to reveal and criticize what is going on. In this case, for example, Shrader-Frechette not only describes many cases of environmental injustice, but she also eloquently analyzes the arguments that are used by those opposing policies that are meant to rectify environmental disadvantages. Her position is unequivocal: environmental injustice is wrong because it is immoral, and because it discriminates against people, often the more vulnerable. Environmental injustice is defended by arguments which are philosophically flawed and morally repugnant. However, there are growing cases of environmental injustice because there are strong interests behind them, and because the more powerful can exploit the vulnerability of those marginalized by society. The reader can hear the echo of the French novelist Emile Zola's famous article, apropos of the Dreyfus affair: "J'accuse."What is 'environmental justice'? Often goods (e.g., cheaper electricity or faster cars) are manufactured with an environmental cost (pollution). Obviously, one relevant question is whether we need these goods. Let us assume that society decides we do. Sometimes this production ends up in severe injustice. Sometimes only the rich enjoy the benefits (e.g., faster cars) while the entire population pays the cost (more air pollution, more noise). Sometimes it is the case that society in general enjoys the benefits (e.g., cheaper electricity). Nevertheless, only a small group bears the cost.Why is the cost so unevenly distributed? First, pollution and hazardous waste must be treated by professionals so it is transferred to, and concentrated in several locations to be treated. This exposes the populations that live there to very high levels of pollution. These people, then, face risks to their health and well-being, which other people do not have to face.Furthermore, when this happens house prices in the area usually fall, and these people are trapped there: so sharp is the fall in house pricing in their area that they cannot move to another, cleaner, or safer place, because whatever price they will get for their houses won't allow them to buy a decent house in cleaner areas. Once the process has started, even more pollution is attracted to this place. This is partly due to market forces: buying burial space for hazardous waste becomes very cheap in these locations, and therefore more and more firms use these locations for the burial [End Page 141] of hazardous waste. However, there is a second reason for this: it seems that the authorities and committees that decide where to send the waste to, are formed by middle class people who are less likely to live in those locations. It is an empirical fact... (shrink)

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it (...) a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture. (shrink)

Noise in behavior is often viewed as a nuisance: while the mind aims to take the best possible action, it is let down by unreliability in the sensory and response systems. How researchers study cognition reflects this viewpoint – averaging over trials and participants to discover the deterministic relationships between experimental manipulations and their behavioral consequences, with noise represented as additive, often Gaussian, and independent. Yet a careful look at behavioral noise reveals rich structure that defies easy (...) explanation. First, both perceptual and preferential judgments show that sensory and response noise may potentially only play minor roles, with most noise arising in the cognitive computations. Second, the functional form of the noise is both non-Gaussian and non-independent, with the distribution of noise being better characterized as heavy-tailed and as having substantial long-range autocorrelations. It is possible that this structure results from brains that are, for some reason, bedeviled by a fundamental design flaw, albeit one with intriguingly distinctive characteristics. Alternatively, noise might not be a bug but a feature: indeed, we suggest that noise is fundamental to how cognition works. Specifically, we propose that the brain approximates probabilistic inference with a local sampling algorithm, one that uses randomness to drive its exploration of alternative hypotheses. Reframing cognition in this way explains the rich structure of noise and leads to a surprising conclusion: that noise is not a symptom of cognitive malfunction but plays a central role in underpinning human intelligence. (shrink)

A follow-up to Hegarty's successful Noise/Music, this book looks at noise in a range of contexts within sound studies and cultural theory.

This paper concerns how extant theorists of predictive coding conceptualize and explain possible instances of cognitive penetration. §I offers brief clarification of the predictive coding framework and relevant mechanisms, and a brief characterization of cognitive penetration and some challenges that come with defining it. §II develops more precise ways that the predictive coding framework can explain, and of course thereby allow for, genuine top-down causal effects on perceptual experience, of the kind discussed in the context of cognitive penetration. §III develops (...) these insights further with an eye towards tracking one extant criterion for cognitive penetration, namely, that the relevant cognitive effects on perception must be sufficiently direct. Throughout these discussions, we extend the analyses of the predictive coding models, as we know them. So one open question that surfaces is how much of the extended analyses are genuinely just part of the predictive coding models, or something that must be added to them in order to generate these additional explanatory benefits. In §IV, we analyze and criticize a claim made by some theorists of predictive coding, namely, that (interesting) instances of cognitive penetration tend to occur in perceptual circumstances involving substantial noise or uncertainty. It is here that our analysis is most critical. We argue that, when applied, the claim fails to explain (or perhaps even be consistent with) a large range of important and uncontroversially interesting possible cases of cognitive penetration. We conclude with a general speculation about how the recent work on the predictive mind may influence the current dialectic concerning top-down effects on perception. (shrink)

Noise and silence as social phenomena with certain depths in terms of their cultural value, when viewed through the lens of the mindsponge theory, become very interesting and often contain many underlying educational implications.

Perception represents colours inexactly. This inexactness results from phenomenally manifest noise, and results in apparent violations of the transitivity of perceptual indiscriminability. Whether these violations are genuine depends on what is meant by 'transitivity of perceptual indiscriminability'.

Perceptual experience supports the assignment of confidences in belief – doxastic confidences. To explain this fact, many philosophers appeal to Perceptual Indeterminacy, which holds that perceptual content can be more or less determinate. Others instead appeal to Perceptual Confidence, which says that perceptual experience supports doxastic confidences because it assigns confidences too. Morrison argues that a primary reason to favour Perceptual Confidence is that it is uniquely capable of accounting for bell-shaped doxastic confidence distributions; we call this the bell curve (...) objection to Perceptual Indeterminacy. Here we show that two recent defences of Perceptual Indeterminacy, due to Nanay and Raleigh and Vindrola, fail to adequately address the bell curve objection. But we also argue that all is not lost for proponents of Perceptual Indeterminacy. They can counter the bell curve objection by embracing a third view, which we call Perceptual Noise. (shrink)

In this paper I argue that noise is a significant source of social harm and thoseharmed by noise often suffer not merely a misfortune but an injustice. I arguethat noise is a problem of justice in two ways; firstly, noise is a burden of socialcooperation and so the question of the distribution of this burden arises. And,secondly, some noises, although burdensome, are nevertheless just becausethey arise from practices that are ‘reasonable’. I offer a number of distinctions,between (...) necessary and unnecessary noise, between public and private noiseand between reasonable and unreasonable noise. What justice requires willdiffer according to what kind of noise we consider. My purpose is to give normativeurgency to the problem of noise by understanding certain instances ofit as not merely annoyances and nuisances but instances of injustice. (shrink)

Environmental pollution and climate change have been considered the main environmental challenges affecting the world’s ecosystem, including that of South Africa. They cause poverty, land degradation, and health hazards. One of the leading causes and contributing factors of environmental pollution and climate change is carbon emissions into the atmosphere. As a way to curb these emissions, Carbon tax policy has been introduced in various countries, including South Africa. In 2019, a Carbon tax was introduced to assist South Africa (...) in delivering on the commitments made in the Paris Agreement in 2015. If the policy is effectively applied, it will raise revenues while reducing carbon dioxide emissions. Before and after introducing the Carbon tax policy in South Africa, there has been debate and discussion on its impact on the environment, economy, and society. Based on the debate and discussion, it has been observed that more attention is paid to the economic implications and benefits of the tax on South Africa than the ethical implications. Thus, this paper aims to contribute to the ongoing debate and discussion by ethically evaluating the Carbon tax policy in South Africa. (shrink)

Could low-level exposure to polluting chemicals be analogous to exercise -- a beneficial source of stress that strengthens the body? Some scientists studying the phenomenon of hormesis claim that that this may be the case.s A Little Pollution Good For You? critically examines the current evidence for hormesis.

This paper aims to establish a distinction and relationship between two types of noise – active noise and passive noise – while giving emphasis to the latter. Active noise is the discourse of negativity and violence that some theorists associate with noise’s materiality, an association particularly pronounced in engagements with Japanoise. The problem with this discourse is that it relies on a culturally normative understanding of noise as well as novelty. This narrative inevitably leads (...) to a dead end. Noise, and artistic practices like Japanoise that draw on noise sounds, have a short lifespan if their entire purpose is one of shock and disturbance. However, Japanoise is not dead: it persists both as a genre and as a sonic idea/gesture. This article suggests that noise persists, and Japanoise remains relevant, because it comes from a region not exhausted by categories of negativity and violence. This article will show how underneath active noise there resounds a deeper, more profound a-cultural noise. Drawing on Maurice Blanchot’s account of passivity, which names the anarchic region of absence in his thought, this noise will be described as passive noise. In this context, passivity must be understood differently from the conventional sense as something opposed to activity. Likewise, passive noise does not refer to background noise. Instead, passive noise will be described as the interiority of excess that manifests as a breach in the closure of active noise. This breach will be shown to be consistent with Blanchot’s view of the inexhaustibility of art and will be described, specifically in the context of Japanoise, as the intimacy of excess that is the lifeblood of maximalist forms of noise-making. This will also amount to a reconsideration of the idea of transgression by reframing Japanoise in terms of inertia. (shrink)

This book explores the obnoxious behavior and movements of noise. However, what is noise? What is it doing to us and to our world? How can we live and move with noise? How do we produce and distribute our own noise? These questions and many more are discussed through a philosophical investigation of noise. Starting off from the statement that â ~noise is natureâ (TM), it soon becomes clear that there is more to (...) class='Hi'>noise than just nature. In an attempt to deal with nature, we have started to order it and put it into boxes. One of these boxes is the container for living, the peculiarities of which harken back to the musings of Plato on his cave and catapult us into contemporary times where office cells mirror those of the monastery. Although any definite answers will be absent, there is still much to tell about noise, even if it remains in the realm of the obscure or the obscene. (shrink)

In noise we hear the possibility of a signal, indeed different signals, and in the multiplicity of signals we hear noise. With variation and selection comes dynamic evolution, a contingent state, one that could be otherwise. The term ‘polemogenous’ (from the French, polémogène) means that which generates polemics. And polemics are creative. If everyone, every system, were to reason in the same way, there would be silence. Every remark would be redundant, having no informational value. Thus noise (...) is not bad. The essence of finance economics, like all that is social in nature, is a forming of meaning. Whatever cannot be formed meaningfully is not available to the system. This unavailability, as ‘noise’, is the dynamic difference (noise/information) that scintillates the system. Information, like morality, is polemogenous – it stirs contention. Without noise and the possibility of its conversion to information there would be no opportunities to exploit. This paper applies a systems theoretical understanding of observation to conceive of finance economics as the economy’s means of observing its noise and capitalizing on that polemic. Niklas Luhmann’s method is utilized to explicate some ideas on noise by financial economist Fischer Black, who suggests the incomprehensible is computable. This is finance. The fact that logical grounds, absolute deductions, and clear calculations are claimed to be rare in finance is no barrier to understanding it. Rather, this polyphonic and polemogenous information-selection is the ‘ground’ of finance, not as totalizing logic, but as different difference-production for the sake of deriving economic opportunity. (shrink)

It is all but universally accepted in epistemology that knowledge is factive: S knows that p only if p. The purpose of this thesis is to present an argument against the factivity of knowledge and in doing so develop a non-factive approach to the analysis of knowledge. The argument against factivity presented here rests largely on empirical evidence, especially extant research into visuomotor noise, which suggests that the beliefs that guide everyday motor action are not strictly true. However, as (...) we still want to attribute knowledge on the basis of successful motor action, I argue that the best option is to replace factivity with a weaker constraint on knowledge, one on which certain false beliefs might still be known. In defence of this point, I develop the non-factive analysis of knowledge, which demonstrates that a non-factive constraint might do the same theoretical work as factivity. (shrink)

Semantic noise, the effect ensuing from the denotative and thus functional variability exhibited by different terms in different contexts, is a common concern in natural language processing (NLP). While unarguably problematic in specific applications (e.g., certain translation tasks), the main argument of this paper is that failing to observe this linguistic matter of fact as a generative effect rather than as an obstacle, leads to actual obstacles in instances where language model outputs are presented as neutral. Given that a (...) common and long-standing challenge in NLP is the interpretation of ambiguous – i.e., semantically noisy – cases, this article focuses on an exemplar ambiguity-resolution task in NLP: the problem of anaphora in Winograd schemas. The main question considered is: to what extent is the standard approach to disambiguation in NLP subject to a stagnant “image of language”? And, can a transdisciplinary, dynamic approach combining linguistics and philosophy elucidate new perspectives on these possible conceptual shortcomings? In order to answer these questions we explore the term and concept of noise, particularly in its presentation as semantic noise. Owing to its definitional plurality, and sometimes even desirable unspecificity, the term noise is thus used as proof of concept for semantic generativity being an inherent characteristic in linguistic representation, and its concept is used to interrogate assumptions admitted in the resolution of Winograd schemas. The argument is speculative and theoretical in method, and the result is an analysis which provides an account of the fundamentally dialogical and necessarily open-ended effects of semantic noise in natural language. (shrink)

The acceptability of sentences in natural language is constrained not only grammaticality, but also by the relationship between what is being conveyed and such factors as context and the beliefs of interlocutors. In many languages the critical element in a sentence (its focus) must be given grammatical prominence. There are different accounts of the nature of focus marking. Some researchers treat it as the grammatical realization of a potentially arbitrary feature of universal grammar and do not provide an explicit account (...) of its origins; others have argued, however, that focus marking is a (grammaticalized) functional solution to the problem of efficiently transmitting information via a noisy channel. By adding redundancy to highlight critical elements in particular, focus protects key parts of the message from noise. If this information‐theoretic account is true, then we should expect focus‐like behavior to emerge even in non‐linguistic communication systems given sufficient noise and pressures for efficiency. We tested this in an experiment in which participants played a simple communication game in which they had to click cells on a grid to communicate one of two line figures drawn across the grid. We manipulated the noise, available time, and required effort, and measured patterns of redundancy. Because the lines in many cases overlapped, meaning that only some parts of each line could be used to distinguish it from the other, we were able to compare the extent to which effort was expended on adding redundancy to critical (non‐overlapping) and non‐critical (overlapping) parts of the message. The results supported the information‐theoretic account of focus and shed light on the emergence of information structure in language. (shrink)

We review studies of an evolution operator ℒ for a discrete Langevin equation with a strongly hyperbolic classical dynamics and a Gaussian noise. The leading eigenvalue of ℒ yields a physically measurable property of the dynamical system, the escape rate from the repeller. The spectrum of the evolution operator ℒ in the weak noise limit can be computed in several ways. A method using a local matrix representation of the operator allows to push the corrections to the escape (...) rate up to order eight in the noise expansion parameter. These corrections then appear to form a divergent series. Actually, via a cumulant expansion, they relate to analogous divergent series for other quantities, the traces of the evolution operators ℒn. Using an integral representation of the evolution operator ℒ, we then investigate the high order corrections to the latter traces. Their asymptotic behavior is found to be controlled by sub-dominant saddle points previously neglected in the perturbative expansion, and to be ultimately described by a kind of trace formula. (shrink)

We review the dissipative quantum model of the brain and present recent developments related to the role of entanglement, quantum noise and chaos in the model.

Noise is said to disturb, disorient, and confuse, but this article looks specifically at the figure of noise “striking” – rather than, say, a rumbling or murmuring disquiet – us to examine its potential to unsettle European liberal hegemonic norms of ordering society and the inequalities they produce. In particular, it focuses on noisy protest, rebellion, and riot which might “awaken” citizens to these injustices and efforts to suppress them. Drawing on work of Saidiya Hartman, Christina Sharpe, Lauren (...) Berlant, Fred Moten, Jacques Derrida, and Catherine Malabou, this article replays and dislodges the long-standing distinction between noise and logos by examining the transformative capacity of noise as something differential that inserts inconvenience into non-relational forms of sovereignty. (shrink)

The developing body of empirical work on the "Gettier effect" indicates that, in general, the presence of a Gettier-type structure in a case makes participants less likely to attribute knowledge in that case. But is that a sufficient reason to diverge from a JTB theory of knowledge? I argue that considerations of good model selection, and worries about noise and overfitting, should lead us to consider that a live, open question. The Gettier effect is perhaps so transient, and so (...) sensitive to other, epistemologically-inappropriate factors, that it raises the question of whether it ought to be counted as something to include in our theories -- or as a piece of noise to be excluded from them. (shrink)

Biographical note: Kai Ginkel (Dr.), geb. 1981, ist Projektmitarbeiter an der Universität für Musik und darstellende Kunst Graz. Der Soziologe promovierte an der Katholischen Universität Eichstätt-Ingolstadt. Zuvor war er PhD-Scholar im postgradualen Lehrgang”Sociology of Social Practices“am Institut für Höhere Studien Wien.

This book presents a philosophical analysis of the rising interest in the notion of 'noise'. The term 'noise' no longer pertains only to aesthetic judgement, for instance of acoustic or visual 'noise', but also to domains as varied as communication theory, physics and biology. This book investigates if there can be a coherent understanding of 'noise' that is effectively shared among the natural-and human sciences, technology and the arts, revealing 'noise' to be a properly philosophical (...) problem. Drawing the philosophical consequences of `noise' for the theory of knowledge, a philosophical revaluation of C. Shannon and W. Weaver's theory of 'information entropy' here serves as a basis upon which to problematize the common idea that 'noise' can be reduced to notions of error, disorder or disorganization. The wider consequences of this analysis relate the technological and scientific aspect of 'noise' with its cultural and psycho-social aspects. The heart of Malaspina's argument is the contestation of the ground upon which we judge and distinguish noise from information, finally exploring its emancipatory potential. (shrink)

Platonic Noise brings classical and contemporary writings into conversation to enrich our experience of modern life and politics. Drawing on writers as diverse as Plato, Homer, Nietzsche, Borges, Don DeLillo, and Philip Roth, Peter Euben shows us the relevance of both popular literature and ancient Greek thought to current questions of loss, mourning, and democracy--all while arguing for the redeeming qualities of political and intellectual work and making an original case against presentism.Juxtaposing ancient and contemporary texts, politics, and culture, (...) Euben reflects on a remarkable range of recent issues and controversies. He discusses Stoic cosmopolitanism and globalization, takes a critical look at Nietzsche's own efforts to make the Greeks speak to the issues of his day, examines a Greek tragedy through Hannah Arendt's eyes, compares the role of comedy in ancient Athens and contemporary America, analyzes political theory as a reaction to an acute sense of loss, and considers questions of agency and morality.Platonic Noise makes a case for reading political theory and politics through literature. Working as much through example as through explicit argument, Euben casts the literary memory of Athenian democracy as a crucial cultural resource and a presence in contemporary political and theoretical debates. In so doing, he reasserts the moral value of what we used to call participatory democracy and the practical value of seeing ourselves with the help of insights from long-gone Greeks. (shrink)

This paper challenges the negative attitudes towards labelled proof systems, usually referred to as semantic pollution, by arguing that such critiques overlook the full potential of labelled calculi. The overarching objective is to develop a practice-based philosophical analysis of labelled calculi to provide insightful considerations regarding their proof-theoretic and philosophical value. To achieve this, successful applications of labelled calculi and related results will be showcased, and comparisons with other relevant works will be discussed. The paper ends by advocating for (...) a more practice-based approach towards the philosophical understanding of proof systems and their role in structural proof theory. (shrink)

Music and noise seem to be mutually exclusive. Music is generally considered as an ordered arrangement of sounds pleasing to the ear and noise as its opposite: chaotic, ugly, aggressive, sometimes even deafening. When presented in a musical context, noise can thus act as a tool to express resistance to predominant cultural values, to society, or to socioeconomic structures (including those of the music industry). The oppositional stance confirms current notions of noise as something which is (...) destructive, a belief not only cherished by hard-core rock bands but also shared by engineers and companies developing devices to suppress or reduce noise in our daily environment. In contrast to the common opinions on noise just described, this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a 'defect', this volume aims at studying its aesthetic and cultural potential. Within the noise music study field, most recent publications focus on subgenres such as psychedelic post-rock, industrial, hard-core punk, trash or rave, as they developed from rock and popular music. This book includes work on avant-garde music developed in the domain of classical music as well. In addition to already well-established (social) historical and aesthetical perspectives on noise and noise music, this volume also offers contributions by music analysts. (shrink)

Libertarians often emphasize courts’ potential to alleviate pollution problems without the need for legislation and regulation. However, this chapter argues courts cannot completely replace these other tools. Because of the historical conditions in which pollution law develops, we should expect courts in industrial societies to initially develop legal standards that deliver limited protection against many common pollution threats. As societies grow wealthier and citizens begin favoring stricter defenses against pollution, courts honoring longstanding precedents will struggle to (...) keep pace with changing priorities. Because legislators and regulators are authorized to create and alter laws deliberately in a way judges are not, they can perform an essential function by updating legal standards amidst changing circumstances. Libertarianism stands the best chance of addressing the challenges pollution creates by allowing each branch of the liberal division of powers to perform its role, not by substituting the judiciary for all other branches. (shrink)