The work of Robert Hooke on acoustics and music theory is a larger subject than might seem the case from studies of his career so far available. First, there are his experiments for the Royal Society which can be defined as purely acoustical, which anticipate later experiments performed by men such as J. Sauveur and E. Chladni. Second, there are passages in many of his writings which by extensive use of musical analogy attempt to account for all physical phenomena (...) of the universe, which operates on the principles of ‘harmony’ and ‘dissonance’. It is in this context that the hitherto unpublished manuscript presented at the end of this paper should be considered. This essay, which combines both the older tradition of the ‘praise of music’ and the newer consideration of the physical nature of musical sound, illustrates a particular aspect of Hooke's thought which exercised a profound influence on all his studies. (shrink)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a (...) purpose. Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)

The greatest challenge for Cultural Selection Theory, which holds that Darwinian natural selection contributes to cultural evolution, lies is the paucity of evidence for structural mechanisms in cultural systems that are sufficient for adaptation by natural selection. In part, clarification is required with respect to the interaction between cultural systems and their purported selective environments. Edmonds, Hull, and others have argued that Cultural Selection Theory requires simple, conclusive, unambiguous case studies in order to meet this challenge. To this (...) end, I am employing the songs of the Rufous-collared Sparrow, which seem to exhibit cultural adaptations that minimize signal degradation relative to local environments (Handford, et al.). Specifically, the more forested the habitat, the more the tail end of the song resembles a whistle rather than a trill; yet, variation in song is uncorrelated with genetic variation. I explore the mechanisms responsible for these putative acoustic adaptations through a series of computer simulations. I modify the framework of Alexander and Skyrms’ ‘Bargaining with Neighbours’: this dynamic evolutionary game theoretic framework is well-suited for my investigation because the local interactions between agents provide a basis for modeling song transmission from adults to fledglings. In the simplest version of the model, each bird adopts one of two song types – trill or whistle – and sings that song type for the duration of its life. These song strategies are communicated to other birds in neighboring territories, which are arranged as a grid composed of two acoustic habitats (forest and field). Birds have a set probability of dying in each year, and deceased birds are succeeded by fledglings. The likelihood that a fledgling adopts a particular song type depends on (i) the popularity of a particular song-type among neighboring birds and (ii) the relative ‘audibility’ of each signal, which is a joint function of the habitat and song type of the signaling bird. The main point of this research is not to test this model, but to demonstrate that models of this type have the resources to meet the outstanding challenges in Cultural Selection Theory. The benefits of this research are threefold. First, it will lend much needed empirical support to Cultural Selection Theory by clarifying the nature of the interaction between culture and environment. Second, it will support Alexander and Skyrms’ work by providing a set of empirically testable consequences for their model. Finally, it will contribute to evolutionary theory by clarifying the scope and limits of adaptation by natural selection. (shrink)

Sound is an inherent component of the environment that provides conditions and information necessary for many animal activities. Soniferous species require specific acoustic and physical conditions suitable for their signals to be transmitted, received, and effectively interpreted to successfully identify and utilize resources in their environment and interact with conspecifics and other heterospecific organisms. We propose the Acoustic Habitat Hypothesis to explain how the acoustic environment influences habitat selection of sound-dependent species. We postulate that sound-dependent species select (...) and occupy habitats with unique acoustic characteristics that are essential to their functional needs and conducive to the threshold of sound frequency they produce and detect. These acoustic habitats are based on the composition of biophony, geophony, and technophony in the soundscape and on the biosemiotics mechanisms described in the eco-field hypothesis. The Acoustic Habitat Hypothesis initiates questions of habitat selection that go beyond the physical attributes of the environment by applying ecoacoustics theory. We outline the theoretical basis of the Acoustic Habitat Hypothesis and provide examples from the literature to support its assumptions. The concept of acoustic habitats has been documented in the literature for many years but here, we accurately and extensively define acoustic habitat and we put this concept into a unified theory. We also include perspectives on how the Acoustic Habitat Hypothesis can stimulate a paradigm shift in conservation strategies for threatened and endangered species. (shrink)

With Walter Benjamin's notion of the optical unconscious as its starting point, this monograph develops a theory of the acoustical unconscious that refers both to the broadening of acoustic apperception via radio and film, and to a particular mode.

Any account of “what is special about the human brain” (Passingham 2008) must specify the neural basis of our unique ability to produce speech and delineate how these remarkable motor capabilities could have emerged in our hominin ancestors. Clinical data suggest that the basal ganglia provide a platform for the integration of primate-general mechanisms of acoustic communication with the faculty of articulate speech in humans. Furthermore, neurobiological and paleoanthropological data point at a two-stage model of the phylogenetic evolution of (...) this crucial prerequisite of spoken language: (i) monosynaptic refinement of the projections of motor cortex to the brainstem nuclei that steer laryngeal muscles, presumably, as part of a “phylogenetic trend” associated with increasing brain size during hominin evolution; (ii) subsequent vocal-laryngeal elaboration of cortico-basal ganglia circuitries, driven by human-specificFOXP2mutations.;>This concept implies vocal continuity of spoken language evolution at the motor level, elucidating the deep entrenchment of articulate speech into a “nonverbal matrix” (Ingold 1994), which is not accounted for by gestural-origin theories. Moreover, it provides a solution to the question for the adaptive value of the “first word” (Bickerton 2009) since even the earliest and most simple verbal utterances must have increased the versatility of vocal displays afforded by the preceding elaboration of monosynaptic corticobulbar tracts, giving rise to enhanced social cooperation and prestige. At the ontogenetic level, the proposed model assumes age-dependent interactions between the basal ganglia and their cortical targets, similar to vocal learning in some songbirds. In this view, the emergence of articulate speech builds on the “renaissance” of an ancient organizational principle and, hence, may represent an example of “evolutionary tinkering” (Jacob 1977). (shrink)

This book provides an alternative (better) way to understand the future of acoustics, especially in the dialectic context of sound and silence-while learning from different approaches in the literature but without favoring any one of them (nor integrating them, since they are not necessarily compatible with each other). In other words, this book offers a new theory (that is, the multilateral theory of acoustics) to go beyond the existing approaches in the literature on acoustics in an original way.

Drawing on the analogy between musical meaning-making and human subjectivity, this book develops the concept of the acoustic self, exploring the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel. The volume is framed around three musical topics-the fugue, absolute music, and Gesamtkunstwerk-arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the acoustic self in examples from the works (...) of E.M. Forster, Aldous Huxley, and Virginia Woolf and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the acoustic self beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices. Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies. (shrink)

The greatest challenge for Cultural Selection Theory lies is the paucity of evidence for structural mechanisms in cultural systems that are sufficient for adaptation by natural selection. In part, clarification is required with respect to the interaction between cultural systems and their purported selective environments. Edmonds et al. have argued that Cultural Selection Theory requires simple, conclusive, unambiguous case studies in order to meet this challenge. To that end, this paper examines the songs of the Rufous-collared Sparrow, which (...) seem to exhibit cultural adaptations minimizing signal degradation relative to local environments. Specifically, the more forested the habitat, the more the tail end of the song resembles a whistle rather than a trill; yet, variation in song is uncorrelated with genetic variation. This paper explores the mechanisms responsible for these putative acoustic adaptations through a series of computer simulations. The main point of this research is not to test this model, but to demonstrate that models of this type have the resources to meet the in-principle objections that have been raised against Cultural Selection Theory. This research lends much-needed empirical support to Cultural Selection Theory by clarifying the nature of the interaction between culture and environment. It also contributes to evolutionary theory by clarifying the scope and limits of adaptation by natural selection. (shrink)

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

Summary Between the 1860s and the 1910s, British acoustics was transformed from an area of empirical research into a mathematically organized field. Musical motives—improving musical scales and temperaments, making better musical instruments, and understanding the nature of musical tones—were among the major driving forces of acoustical researchers in nineteenth-century Britain. The German acoustician, Helmholtz, had a major impact on British acousticians who also had extensive interactions with American and French acousticians. Rayleigh's acoustics, reflecting all these features, bore remarkable fruit in (...) his treatise The Theory of Sound, which successfully subjected empirical acoustics to analytical mathematics. His accomplishments made British acoustics a subfield of physics, thus distinguishing it from the ‘new acoustics’ in early twentieth-century America. (shrink)

View/download or read preprint via a streaming viewer with the turning page feature in SOAR, or click on the DOI link to access the publisher's copy of this article.

Ernst Mach is the only person whom Einstein included on both the list of physicists he considered his true precursors, and the list of the philosophers who had most affected him. Einstein scholars have been less generous in their estimation of Mach's contributions to Einstein's work, and even amongst the more generous of them, Mach's great achievements in physics are seldom mentioned in this context. This is odd, considering Mach was nominated for the Nobel Prize in Physics three times. In (...) this paper, I examine some of Mach's work in physics that bears conceptually on Einstein's 1905 paper on Special Relativity ("On The Electrodynamics of Moving Bodies"). Mach was the first to give the correct explanation of the Doppler Effect, and he presented it in a way that Einstein echoes in his 1905 paper: laying out two apparently contradictory principles and showing how both can be retained. It is also notable that Mach's explanation was explicit about not relying on the existence of a medium of transmission for the propagation of light waves. In his work on supersonic shock waves, Mach invokes the constancy of the velocity of sound (i.e., its independence of the motion of the sound source) , just as he had invoked the constancy of the velocity of light in his work on the Doppler Effect for Light. I examine the analogies between light and sound that were drawn upon by Einstein and Mach, as well as one analogy that Einstein could have, but did not make: Cherenkov radiation, or "singing electrons", i.e., cases in which the sound of light in the medium of transmission is exceeded, which results in an optical analogue of supersonic shock waves. (shrink)

Locus equations are supposed to capture a perceptual invariant of place of articulation in consonants. Synthetic speech data show that human classification deviates systematically from the predictions of locus equations. The few studies that have contrasted predictions from competing theories yield mixed results, indicating that no current theory adequately characterizes the perceptual mapping from sound to phonetic symbol.

Summary Througout the nineteenth century, acoustics or the science of sound in America lagged behind European acoustics which had been rapidly advancing. During this period, the American physicist Alfred M. Mayer made original contributions to acoustics and earned a reputation in Europe, filling a gap in late nineteenth-century American research in acoustics. Lacking fellowship with American acousticians, he was affiliated with the European community of research in acoustics in various respects such as taking up themes of research, employing experimental instruments, (...) learning the practice of research, and adopting specific theories for research. In addition, he tried to naturalise acoustics on American soil by applying expertise to practical problems and creating specialised experimental setups for acoustics education in America. But his research was not taken advantage of by the next generation of American acousticians, who focused on practical technologies such as telephony, the control of noise, and underwater acoustics. (shrink)

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

Speech perception under adverse conditions is a multistage process involving a dynamic interplay among acoustic, cognitive, and linguistic factors. Nevertheless, prior research has primarily focused on factors within this complex system in isolation. The primary goal of the present study was to examine the interaction between processing depth and the acoustic challenge of noise and its effect on processing effort during speech perception in noise. Two tasks were used to represent different depths of processing. The speech recognition task (...) involved repeating back a sentence after auditory presentation, while the tiredness judgment task entailed a subjective judgment of whether the speaker sounded tired. The secondary goal of the study was to investigate whether pupil response to alteration of dynamic pitch cues stems from difficult linguistic processing of speech content in noise or a perceptual novelty effect due to the unnatural pitch contours. Task-evoked peak pupil response from two groups of younger adult participants with typical hearing was measured in two experiments. Both tasks were implemented in both experiments, and stimuli were presented with background noise in Experiment 1 and without noise in Experiment 2. Increased peak pupil dilation was associated with deeper processing, particularly in the presence of background noise. Importantly, there is a non-additive interaction between noise and task, as demonstrated by the heightened peak pupil dilation to noise in the speech recognition task as compared to in the tiredness judgment task. Additionally, peak pupil dilation data suggest dynamic pitch alteration induced an increased perceptual novelty effect rather than reflecting effortful linguistic processing of the speech content in noise. These findings extend current theories of speech perception under adverse conditions by demonstrating that the level of processing effort expended by a listener is influenced by the interaction between acoustic challenges and depth of linguistic processing. The study also provides a foundation for future work to investigate the effects of this complex interaction in clinical populations who experience both hearing and cognitive challenges. (shrink)

Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of the brain (...) as a kind of “antenna”. In this approach, the problem of noise protection against the background of the undeniable frequency similarity of speech and music appears to us from somewhat different positions. This study raises the question of how essential the overall height of the musical system is to the perception of music (are there musical systems that are harmful or useful, in terms of their effects on the psyche). This question is also relevant to speech perception.Methodology and sources. The main sources in which the work of the brain and the essence of consciousness are considered from the positions indicated above were for us the work of American and British neurophysiologists and psychiatrists (Sam Parnia, Peter Fenwick). These scientists are studying the phenomena that accompany clinical death, and argue that at these moments the brain functions to the greatest extent as a receiving “antenna”. Assuming that any antenna is to be tuned, we are trying to identify possible ways to “tune” the brain. To do this, we propose to study the frequency characteristics of speech (in the simplest case, when singing vowels in a calm state) for their belonging to a particular musical system, as well as the peculiarities of music perception depending on the musical system (on the height of the note “la”). Varying the frequency characteristics of speech in a particular musical system can be considered, in our opinion, the main way to “tune” the brain. The methodology of the method is based on the use of frequency analysis of sound and the basic provisions of the elementary theory of music.Results and discussion. The main conclusion made by Western psychiatrists is the brain is not an organ of thought, consciousness exists independently from outside, the work of consciousness cannot be explained by the functioning of the brain – it requires a hardware check. If the neural network is an “antenna” that captures thoughts, and its “adjustment” at the physical level can be carried out (and is carried out) through sensory systems (including the hearing organ), the study of the frequency structure of speech will answer a number of important questions, including including related and higher brain functions (insight, creativity). Our experiments (Saint Petersburg Electrotechnical University, FIBS, department of EUT) showed that the influence of the “increased” or “lowered” musical-speech system on brain activity is insignificant. The study revealed the equiprobability of the frequency structure of speech. Since our brain lacks some characteristic set of frequencies – elements of a uniformly temperamental system, it is not necessary to talk about the harmful (or any other noise) effect of the “raised” and “lowered” systems due to deviation from the “internal standard”.Conclusion. In response to the assumptions made by Western experts, we proposed a frequency interpretation of the processes occurring in the brain, which, perhaps, will explain in more detail such phenomena as inspiration, discovery, etc., which occur with minimal activity of consciousness. Despite the limited methods of hardware study of factors that influence the activity of the brain and largely determine its higher functions (for example, creativity), the results of the brain's work in relation to music (both in terms of its creation and in terms of our reaction to it) are quite analyzable, which was shown in this study. The “musicality” of speech is extremely vividly represented in its frequency structure and allows one to reveal, to one degree or another, the features of the brain. (shrink)

Recent research on body and head positions has shown that postural changes may induce varying degrees of changes on acoustic speech signals and articulatory gestures. While the preservation of formant profiles across different postures is suitably accounted for by the two-tube model and perturbation theory, it remains unclear whether it is resulted from the accommodation of tongue postures. Specifically, whether the tongue accommodates the changes in head angle to maintain the target acoustics is yet to be determined. The (...) present study examines vowel acoustics and their correspondence with the articulatory maneuvers of the tongue, including both tongue postures and movements of the tongue center, across different head angles. The results show that vowel acoustics, including pitch and formants, are largely unaffected by upward or downward tilting of the head. These preserved acoustics may be attributed to the lingual gestures that compensate for the effects of gravity. Our results also reveal that the tongue postures in response to head movements appear to be vowel-dependent, and the tongue center may serve as an underlying drive that covariates with the head angle changes. These results imply a close relationship between vowel acoustics and tongue postures as well as a target-oriented strategy for different head angles. (shrink)

In vowel discrimination, commonly found discrimination patterns are directional asymmetries where discrimination is faster if differing vowels are presented in a certain sequence compared to the reversed sequence. Different models of speech sound processing try to account for these asymmetries based on either phonetic or phonological properties. In this study, we tested and compared two of those often-discussed models, namely the Featurally Underspecified Lexicon model and the Natural Referent Vowel framework. While most studies presented isolated vowels, we investigated a large (...) stimulus set of German vowels in a more naturalistic setting within minimal pairs. We conducted an mismatch negativity study in a passive and a reaction time study in an active oddball paradigm. In both data sets, we found directional asymmetries that can be explained by either phonological or phonetic theories. While behaviorally, the vowel discrimination was based on phonological properties, both tested models failed to explain the found neural patterns comprehensively. Therefore, we additionally examined the influence of a variety of articulatory, acoustical, and lexical factors but also the influence of factors beyond the well-known in depth via multiple regression analyses. The analyses revealed that the perceptual factor of perceived loudness has a greater impact than considered in the literature and should be taken stronger into consideration when analyzing preattentive natural vowel processing. (shrink)

The biosemiotic complexity of acoustic communities in the primary forests of Ulu Temburong and Yasunì was investigated with continuous 24-h recordings, using the acoustic signature and multiscale approach of ecoacoustic events and their emergent fractal dimensions. The 3D recordings used for the analysis were collected in undisturbed primary equatorial forests under the scope of the project, Fragments of Extinction, which produces 3D sound portraits with the highest definition possible using current technologies – a perfect dataset on which to (...) perform a multiscale qualitative analysis. The ecoacoustic events detected by a combination of the Acoustic Complexity Indices, ACIft, ACIft evenness, and ACItf evenness, and its fractal dimension were developed according to a biosemiotics approach in which the ecofield theory states that EE functions like a species-specific carrier of meaning. EEs, extracted according to 10 levels of temporal resolution, from 1 to 360 s, confirm the hypothesis that these acoustic communities have an internal complexity that responds to a fractal structure. Yasunì was richer in EEs, with a higher coefficient of variation of hourly fractal dimension. This methodology opens up promising new perspectives in the acoustic assessment of habitat quality and monitoring landscape modification. It also confirms the great potential of the biosemiotics approach in converting acoustic frequencies into ecoacoustic events through encoding procedures that mimic potential species-specific interpretations of the sonic environment. (shrink)

The present study adopts both empirical and theoretical methods for the analysis of the acquisition of English sentence stress based on Optimality Theory, aiming to overcome mispronunciation of English sentence stress. Optimality Theory has a dramatic impact on most areas in linguistics besides phonology. The acoustic software Praat is chosen to collect and label data as the basis of the empirical method. Then, through analyzing the four major principles of distribution of sentence stress and based on the (...) analysis of Optimality Theory, the software Praat, and SPSS, the researcher can present the following findings: firstly, the constraint hierarchical ranking of nonnative speakers is DEP-IO >> NEW-IP >> ALIGN-IP-LEFT >> ALIGN-IP-RIGHT. Secondly, the native speakers also undergo the demotion of constraint hierarchical ranking: NEW-IP >> DEP-IO >> ALIGN-IP-RIGHT >> ALIGN-IP-LEFT. Thirdly, the constraint in each demotion of constraint hierarchical ranking during different stages is as follows: NEW-IP constraint moves from the undominated position to the dominated position in the hierarchy; ALIGN-IP-RIGHT and ALIGN-IP-LEFT constraints move from the dominated position to the lower position in the hierarchy. Through the specific analysis, the researcher draws a conclusion that the varied reasons affect the nonnative speakers to master the distribution of sentence stress due to their incorrect position in the demotion of constraint hierarchical ranking. (shrink)

What is noise?Noise is a central concept of acoustics that distinguishes certain kinds of sounds from others. Beyond sound, notions of noise associated with the measurement process and information theory have moved to virtually all fields of science and engineering, and even the social sciences. Not surprisingly, we find not one but several different and even contradictory concepts of noise in science and engineering. How did this happen?Scientific concepts of noise have changed over time. But they have also varied (...) in relation to a respective research field or technical application. The history of acoustics is characterised by its distinct relation to human sensation and perception of hearing, music and speech. (shrink)

ExcerptIn a letter to his friend and intellectual collaborator Theodor W. Adorno, on December 25, 1935, Walter Benjamin describes music as a field of inquiry “fairly remote” from his own.1 Several years later, in another letter to Max Horkheimer, he writes that the “state of musical affairs … could not be any more remote” for him.2 Yet despite these claims of unfamiliarity with aurality, there are numerous observations on acoustic phenomena throughout Benjamin's oeuvre. From his early essays on language (...) to his autobiographical studies and late works on critical historiography, Benjamin displays a keen sensitivity to sound that ranges from…. (shrink)

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

Tone semantics is a psychoacoustic-based theory of gestalt perception that deals with tone perception and the assignment of functional relationships between tones in the musical context. The theory provides an operational account of semantics in terms of complex dynamic systems theory and forms the basis for non-symbolic research in music imagination. This is illustrated by an application in the automatic recognition of tone centers from acoustical input. An analysis of the basic concepts and related epistemological and methodological (...) principles reveals a promising paradigm for music research. (shrink)

Analogue Gravity Phenomenology is a collection of contributions that cover a vast range of areas in physics, ranging from surface wave propagation in fluids to nonlinear optics. The underlying common aspect of all these topics, and hence the main focus and perspective from which they are explained here, is the attempt to develop analogue models for gravitational systems. The original and main motivation of the field is the verification and study of Hawking radiation from a horizon: the enabling feature is (...) the possibility to generate horizons in the laboratory with a wide range of physical systems that involve a flow of one kind or another. The years around 2010 and onwards witnessed a sudden surge of experimental activity in this expanding field of research. However, building an expertise in analogue gravity requires the researcher to be equipped with a rather broad range of knowledge and interests. The aim of this book is to bring the reader up to date with the latest developments and provide the basic background required in order to appreciate the goals, difficulties and success stories in the field of analogue gravity. Each chapter of the book treats a different topic explained in detail by the major experts for each specific discipline. The first chapters give an overview of black hole spacetimes and Hawking radiation before moving on to describe the large variety of analogue spacetimes that have been proposed and are currently under investigation. This introductory part is then followed by an in-depth description of what are currently the three most promising analogue spacetime settings, namely surface waves in flowing fluids, acoustic oscillations in Bose-Einstein condensates and electromagnetic waves in nonlinear optics. Both theory and experimental endeavours are explained in detail. The final chapters refer to other aspects of analogue gravity beyond the study of Hawking radiation, such as Lorentz invariance violations and Brownian motion in curved spacetimes, before concluding with a return to the origins of the field and a description of the available observational evidence for horizons in astrophysical black holes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Self-Reference:Theory and Didactics between Language and LiteratureSvend Erik Larsen (bio)Semiotics of Self-ReferenceLiterary metafiction constitutes the extreme case of self-referential texts. Therefore we can either discard it as generally irrelevant for the understanding of the cultural functions of texts, or use it as a point of departure for the formulation of both general and basic aspects of such functions. The position taken in this essay will opt for the (...) last possibility, although I know full well that already the term "metafiction" itself inevitably triggers a variety of skeptical reactions. Does it not just refer to some author's self-centered ruminations in the ivory tower? Or a topic for the nerds of literary studies with a taste for theoretical acrobatics? If so, in both cases following metafictional inclinations results in complete isolation from both the context of literature and its readers.However, one may also adopt the opposite position. The metafictional features of literature constitute one of the means by which literature reaches out to its context and also engages its readers. And critical endeavors are not necessarily devoid of anything but their own concepts. They may instead pave the way for methodological and didactic considerations that ultimately make difficult literature more accessible as a cultural phenomenon. Rather than dwelling upon subtle theoretical differences in the definition of what metafiction is, I will therefore engage in a methodological approach: what kind of questions can we put to the texts, and what kind of answers can we reasonably come up with when using metafiction in a methodological and didactic framework?I shall begin by proposing a set of definitions broader than metafiction that will allow me to zoom in on it as a relevant methodological concept that opens for didactic reflections. The notion of metalevel will constitute my starting point. In its broadest sense, a metalevel indicates a position outside a given field of objects or meanings and in relation to it. But rather than relating [End Page 13] to the content of the field in question, the metalevel is supposed to serve as a platform enabling us to observe and evaluate basic principles and function of the field. This is the role of, for example, the theory of science or of epistemology in relation to the particular knowledge of various sciences. We may call it an epistemological metalevel.In a more restricted sense, a metalevel comprises a level in relation to a given sign system — rather than to a given field of objects — from which we can observe and evaluate the basic principles defining the function, range and validity of the sign system. This is the role of, for example, musicology in relationto the acoustic arts, art criticism in relation to the visual arts, medicine in relation to bodily symptoms. We may call it an inter-semiotic metalevel.Finally, in its most restricted sense, a metalevel points toward a level inside a given sign system from which we can refer to this sign system itself,but not in relation to a given field of objects or in relation to another sign system. We may call this level an intra-semiotic metalevel. In this context, language is a unique system, which in this capacity shapes literature as a particular linguistic phenomenon. Only inside the semiotic system of language can the intra-semiotic metalevel have two different functions:The first function is as a science of language, linguistics, which is itself a verbal sign system. In verbal scientific descriptions and arguments we may scrutinize the natural or everyday language as a medium, that is, its basic linguistic structures and principles, without taking into consideration its content, which it may share with other media. Texts and pictures may refer to the same phenomenon even if such references do not overlap completely. All other sciences differ from linguistics in this respect, because they cannot deal scientifically with their non-verbal objects through the same non-verbal medium as that which makes up the object, but need the support of a linguistic metalevel or at least of signs that are linguistically anchored. Even mathematics or other strictly formal sign systems are based on natural languages. We may refer to... (shrink)

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

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.

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the (...) complementary thesis that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

Computer simulations are widely used within the area of building science research. Building science research deals with the physical phenomena that affect buildings, including heat and mass transfer, lighting and acoustic transmission. This wide usage of computer simulations, however, is characterized by a divergence in thought on the composition of an epistemological framework that may provide guidance for their deployment in research. This paper undertakes a fundamental review of the epistemology of computer simulations within the context of the philosophy (...) of science. Thereafter, it reviews the epistemological framework within which computer simulations are used in practice within the area of building science research. A comparison between the insights obtained from the realms of theory and practice is made, which then interrogates the adequacy of the epistemological approaches that have been employed in previously published simulation-based research. These insights may help in informing a normative composition of an adequate epistemological framework within which computer simulation-based building science research may be conducted. (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)

All activities which are taking place in the Cosmos also exist in a human body in subtle micro-scale. Plexuses centers in a human body are the most mysterious kinds of energies. The six-center plexus system is the path of the Kundalini shakti, the primordial cosmic energy of a person. Each plexus has its own propensities (vibrating words/dimensions/vritti) and an acoustic root. These plexuses control some cluster of words of sounds and corresponding physical organs in human body. The 50 main (...) propensities of the human’s unit mind are expressed through the vibration-expression of these plexuses. These vibrations cause hormones to secrete from the corresponding glands of the human’s body. These plexuses can play very important roles in curing the diseases. According to the Theory of Nikola Tesla’s 369, there are all together 1 to 9 digital root numbers exist. All other higher or lower numbers are the combination of those digital root numbers. This statement seems quite true when we compare it with Theory of Absolutivity. If 3, 6, 9 numbers are arranged together it makes a letter Ohm (AUM) which represents actually a Sagun Bramh/Nikola Tesla’s 369 triangle which is a part of NirgunBramh having higher dimensions. Number zero is the NirgunBramh (having all the qualities but in dormant form) which does not possess any quality in action. Number 3, 6, 9 forming as an equilateral triangle of static, mutative and sentient forces representing the Black-hole which is a part of Sagun Bramh projecting Himself as a Visible World through Big-bang along with forming five basic elements such as Ethereal, Areal, Fire, Liquid and Solid. According to the biological science, life emerged in this planet from matter about four billion years ago in the form of DNA that carried the software for the development of billion of species on the way to its final destination in humans. These facts also fully support the above hypothesis of universe formations. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of (...) the relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

Here, I outline the idea of a unified hypothesis of sensory perception, developed from the theoretical vibrational mechanism of olfaction, which can be applied across all sensory modalities. I propose that all sensory perception is based upon the detection of mechanical forces at a cellular level, and the subsequent mechanotransduction of the signal via the nervous system. Thus, I argue that the sensory modalities found in the animal kingdom may all be viewed as being mechanoreceptory, rather than being discrete neurophysiological (...) systems which evolved independently of each other. I go on to argue that this idea could potentially explain language evolution, with birdsong being an example of a more simple form of non-Saussurean language that employs ‘frequency-mimicking’ to produce a vocal signal which describes acoustic, chemical and electromagnetic vibrational frequencies detected within in the environment. I also give examples of how this hypothesis could potentially explain phenomena such as vocal mimicry in animals, as well as the human perception of musicality and the occurrence of synaesthesia; a condition found in humans, where the stimulation of one sensory modality results in the stimulation of another. For example, auditory stimuli are detected and are heard as an acoustic signal, as well as being perceived as colour by the visual system. (shrink)

This paper introduces current acoustic theories relating to the phenomenology of sound as a framework for interrogating concepts relating to the ecologies of acoustic and landscape phenomena in a Japanese stroll garden. By applying the technique of Formal Concept Analysis, a partially ordered lattice of garden objects and attributes is visualized as a means to investigate the relationship between elements of the taxonomy.

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)

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)