This paper develops an ontology of sound from Merleau-Ponty’s accounts of linguistic expression and political communication framed in terms of the instituted-instituting character of the “flesh.” The analysis explores the role of sound and hearing in experiencing and making sense of a world in order to explain two problems: first, the impact of hearing loss on a person’s relations with others and with their environment and, second, the impact of “trump talk” on the fabric of political community. (...) The argument is that hearing loss and “trump talk” weaken or erase what Merleau-Ponty refers to as the “spirit” of communication and intersubjectivity. (shrink)

This paper develops an ontology of sound from Merleau-Ponty’s accounts of linguistic expression and political communication framed in terms of the instituted-instituting character of the “flesh.” The analysis explores the role of sound and hearing in experiencing and making sense of a world in order to explain two (arguably related) problems: first, the impact of hearing loss on a person’s relations with others and with their environment and, second, the impact of “trump talk” on the fabric of (...) political community. The argument is that hearing loss and “trump talk” weaken or erase what Merleau-Ponty refers to as the “spirit” of communication and intersubjectivity. (shrink)

Taxonomies and ontologies for the characterization of everyday sounds have been developed in several research fields, including auditory cognition, soundscape research, artificial hearing, sound design, and medicine. Here, we surveyed 36 of such knowledge organization systems, which we identified through a systematic literature search. To evaluate the semantic domains covered by these systems within a homogeneous framework, we introduced a comprehensive set of verbal sound descriptors, which we used to manually label the surveyed descriptor classes. We reveal that (...) most taxonomies and ontologies were developed to characterize higher-level semantic relations between sound sources in terms of the sound-generating objects and actions involved, or in terms of the environmental context. This indicates the current lack of a comprehensive ontology of everyday sounds that covers simultaneously all semantic aspects of the relation between sounds. Such an ontology may have a wide range of applications and purposes, ranging from extending our scientific knowledge of auditory processes in the real world, to developing artificial hearing systems. (shrink)

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While (...) we have no alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

I propose a metaphysical theory of mechanisms based on the notion of causation. In particular, I use causation to formulate existence, identity, and parthood conditions for mechanisms. These conditions provide a sound metaphysical basis for accounts of mechanistic explanation, mechanistic organization, and for more restrictive theories of mechanisms.

This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer’s theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or (...) as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are ‘constructed’ rather than ‘caused’, that the mind uses a system of ‘filters’ to respond to sonic stimuli and thus constructs aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work. It will be of great interest to scholars in music aesthetics as well as a variety of other music related fields, including music psychology, philosophy and science and technology studies. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop (...) a path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

This essay offers an introduction to Hegel's philosophy of sound as elaborated in the 1830 Encyclopaedia of the Philosophical Sciences in Basic Outline. The first section begins with essential context for interpreting the a priori status of nature and sound in Hegel's Philosophy of Nature. Next, I develop a general account of the Aristotelian character of Hegel's ‘Physics’, and a commentary on the categories of specific gravity and cohesion leading up to sound (and heat) in the ‘Physics (...) of Particular Individuality’. The second section provides an exegetical portrait of Hegel's metaphysics of sound. I first reconstruct Hegel's ontology of sound from the subsection on ‘Sound’ (Der Klang), and then outline his theory of auditory perception. The third section compares Hegel's philosophy of sound to leading views in contemporary philosophy of sound. I argue that Hegel offers a hylomorphic version of a located event theory of sound, which I suggest is more phenomenologically adequate than the modern acoustic view, and more metaphysically consistent than other distal event theories of sound. (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)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

I present a version of Kit Fine's stratified semantics for the logic RWQ and define a natural family of related structures called RW hyperdoctrines. After proving that RWQ is sound with respect to RW hyperdoctrines, we show how to construct, for each stratified model, a hyperdoctrine that verifies precisely the same sentences. Completeness of RWQ for hyperdoctrinal semantics then follows from completeness for stratified semantics, which is proved in an appendix. By examining the base category of RW hyperdoctrines, we (...) find reason to be worried about the ontology of stratified models. (shrink)

[ES] Confronta ciertos enigmas surgidos en torno a la naturaleza e identidad de la obra musical, y rechaza estos enigmas por irreales: o bien ellos conciernen a la obra musical en sí misma, en cuyo caso son enigmas acerca del estatus metafísico de un objeto intencional, y por lo tanto susceptibles a una solución arbitraria, o bien ellos conciernen a los sonidos con los que la obra es escuchada, en cuyo caso simplemente se trata de casos especiales de los problemas (...) concernientes a la naturaleza e identidad de los eventos. [EN] Confronts certain puzzles raised about the nature and identity of the musical work, and dismisses these puzzles as unreal: either they concern the musical work itself, in which case they are puzzles about the metaphysical status of an intentional object, and therefore susceptible to an arbitrary solution, or they concern the sounds in which the work is heard, in which case they are simply special cases of the problems concerning the nature and identity of events. (shrink)

According to a popular approach to the ontology of music, the identity conditions for a musical work include the specification of properties of sound, which constrain the class of its correct performances. This essay argues that the resulting invariantist view of the work–performance relation is inadequate and defends a contextualist alternative.

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a property (...) to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers (...) wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)

This book provides a unique approach to some of philosophy’s fundamental issues. It points to music as a model for exploring such questions as, “What does it mean to value?” This is not a musical study, per se, but a philosophical text that uses music as a vehicle for investigating these and other metaphysical, axiological, and aesthetic matters.

The growing critical and economic success of Virtual Reality technologies is generating renewed scholarly interest in virtual environments. One of the most long-lasting and influential perspectives on the topic has been labelled «virtual realism» (Heim [1998]), and it has passed throughout the entire history of virtual environments studies up to recent days (Chalmers [2022]). Virtual Realism frames virtual environments in terms of realism, and precisely of perceptive soundness and isomorphism between physical environments and virtual ones, producing a convincing illusion of (...) being physically present in the digital space. This article develops a critical counter-argument to this account. By employing James J. Gibson’s ecology of perception and Deleuze’s and Lévy’s philosophy of the virtual, the article aims at demonstrating that the ontology of virtual environments is rooted in a domain of predetermined possibilities, and that the resulting aesthetics can not be fully immersive. Instead, the latter should embrace the «emersive» and anti-realistic qualities of the medium as an expressive device. (shrink)

A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

Casati, Di Bona and Dokic have recently argued that sounds are identical to their event sources. In this paper, I review the arguments they have offered in support of this view, show that their claims fail to defend it in a completely persuasive and conclusive fashion, and present some new questions for their thesis.

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the (...) musical work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

A common working assumption of theories of statutory interpretation is that the object of interpretation is uncontroversial. It is assumed that dispute only centers on the epistemics of interpretation. The assumption is unsound. Theories of statutory interpretation are importantly different from other sorts of theories. The subject matter of other sorts of theories can be identified uncontroversially. In the case of statutory interpretation, the object of interpretation is controversial. What counts as the object of interpretation therefore needs specification. Without the (...) required specification, criteria of evidence and warrant justifying an interpretation are not well-defined.An adequate theory of statutory interpreation must contain both epistemic and ontological components. It must provide criteria for treating information as evidence relevant to, and standards for, interpreting a statute. Providing such criteria in turn requires also giving an account of the object of interpretation — what a statute consists in. Practical reason theories fail to provide acceptable criteria and standards for interpreting a statute. These accounts therefore fail to supply an adequate epistemic components for a theory of statutory interpretation. As to the ontological component, things are less clear. I have argued in sections II and III that this component is partly a matter of substantive political theory. Although practical reason theorists fail to offer a substantive political theory for defining the proper object of interpretation, their accounts are in principle ontologically unobjectionable. At most, practical reason accounts are incomplete. Of course, practical reason accounts might still be defective for other reasons. They may invoke a defective substantive political theory. Or the constraints imposed on properties of a statute or relations between them may not in fact affectuate the goals set by the theory. Such failings would be normative, not metaphysical. Since practical reason accounts are epistemically inadequate and ontologically incomplete, legal theorists should find the accounts less attractive than they do, even putting aside the normative soundness of the accounts. (shrink)

Dedicated to the late Gerard Béhague, this anthology offers perspectives on the evolving legacy of performance ethnography in socio-musical analysis and reflects the heritage but also contemporary trajectories of Béhague’s scholarly concerns. Prefaced by an essay outlining key developments in the ethnography of performance paradigm, the volume’s seven case studies portray snapshots of musical life in representative communities of the Americas, including the southwestern and Pacific United States, Puerto Rico, Bolivia, Chile, Cuba, and Ecuador. These studies pose anthropological inquiries into (...) the ontology of performance practice, the social power of poetic performativity, and the experience and embodiment of sound in place. (shrink)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas (...) about music, which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

This paper addresses the problem of sound individuation (SI) and its connection to sound ontology (SO). It is argued that the problems of SI, such as aspatiality, extreme individuation, indexical perplexity and duration puzzles are due to SO’s uncertainties. Besides, I describe the views in SO, including the wave view (WV), the property view (PV), and the event view (EV), as Casey O’Callaghan defends it. According to O’Callaghan, EV offers clear standards to individuate sounds. However, this claim (...) is countered by the consideration that any view could also defend the standards in SO, and thus, EV does not solve any of the problems mentioned above. As a way of showing the difficulties inherited by sound’s inner ontology, the problem of its linguistic representation is also addressed. The problem of SI can be developed within the frame of the philosophy of language and, specifically, regarding the discussion about mass vs count-­sortal terms. Is the term sound a mass or a count­-sortal? It is shown that, for reasons pertaining SO, the decision regarding the case of sound as a mass or count-­sortal term remains open. SI is, thus, covered from the SO to the philosophy of language. (shrink)

Musical Platonists identify musical works with abstract sound structures but this implies that they are not created but only discovered. Jerrold Levinson adapts Platonism to allow for creation by identifying musical works with indicated sound structures. In this paper I explore the similarities between Levinson's view and Kit Fine's theory of qua objects. Fine offers the theory of qua objects as an account of constitution, as it obtains, for example, between a statue and the clay the statue is (...) made out of. I argue that Fine's theory does not adequately characterize the constitution relation and that the problems it faces extend to Levinson's account of musical works as indicated structures. I develop an alternative theory of constitution, based on the notion of being made out of. This approach to constitution enables me to offer an account of musical works as abstract objects that are constituted by sound structures. I argue that my account has several advantages over the Levinson/Fine approach. (shrink)

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That (...) portrayal, however, is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

When Descartes famously claimed that he could explain the world in terms of matter in motion, he was sounding the mantra of seventeenth century science. Though his enthusiasm about this new science has been appreciated and is well documented, the details of his contribution are viewed as riddled with paradox. These purported paradoxes revolve around Descartes's circular definition of 'motion' and 'a body', which seems to render his account of individuation implausible. ;I argue for a new interpretation of the Cartesian (...) ontology under which these purported paradoxes, identified in Descartes's metaphysics by commentators including Kenny, Prendergast, and Garber, simply do not arise. ;In contrast to interpretations of Descartes as committed to many individual extended substances, I argue that Descartes is committed to only one individual extended substance-the whole extended universe. In my interpretation, bodies have a quasi-individual status: they acquire their individuality because the extended universe appears to perceivers as if it were divided into things like pieces of wax, stones, or birds. As quasi-individuals, bodies are also quasi-substances; this means that while they derive their materiality from the whole extended universe, they receive their individuality from human perception. I explain that the substantiality of bodies is tertiary because it involves dependence on the whole extended universe and on minds. Thus, individual bodies differ from God, who has primary substantiality because of his absolute independence, and also from the whole extended universe and minds, both of which have secondary substantiality because they are dependent solely on God. In this way, I argue that Descartes held a kind of phenomenalism about the individuation of bodies . My account is thus similar in spirit to those offered by Martial Gueroult and Thomas Lennon, though it differs sharply from both. ;I also give interpretations of clear and distinct perceptions of the real, conceptual, and modal distinctions of substances on the three levels. I show how bodies become individuated. I conclude by showing why Descartes's circular definition of motion and bodies is virtuous and not vicious. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

Philosophical reflection on intellectual property (IP) is still very young. Whilst much has been written by lawyers on intellectual property, the vast majority of this writing is philosophically unsophisticated. This paper aims to at least partially remedy this philosophical deficit by examining what reflection on the ontology of intellectual property can add to our understanding of how to regulate IP. I argue that ontological reflection should bring us to an important basic fact, namely that ownership of intellectual property involves (...) the ownership of types rather than tokens. This difference in the ontological status of the objects owned makes a normative difference to how we should regulate ownership of intellectual property as compared to tangible property. The argument falls into three main parts. I begin by arguing that the type-token distinction is the best way to account for the ontology of intellectual property. I next argue that the realisation that we are dealing with ownership of types rather than tokens has important normative implications. In particular some of the standard arguments in favour of private ownership of physical property simply do not apply in the case of ownership of types, whilst some other arguments apply only in an attenuated way. The next section examines the limitations of ontology as a guide to the regulation of IP. I argue that whilst thinking through the normative implications of the type-token distinction is a necessary 1 condition for a sound regulatory approach to IP, it is certainly not sufficient. This is because many of the specific questions about the regulation of intellectual property that matter most in practice—such as how long the patent term should be, or how much someone should be able to quote from a book and it count as fair use—are not answerable by ontological reflection. Such questions concern the fair distribution of the burdens and benefits involved in the construction of public goods, rather than questions of ontology.. (shrink)

In this paper, we shall show that the following translation \(I^M\) from the propositional fragment \(\bf L_1\) of Leśniewski's ontology to modal logic \(\bf KTB\) is sound: for any formula \(\phi\) and \(\psi\) of \(\bf L_1\), it is defined as (M1) \(I^M(\phi \vee \psi) = I^M(\phi) \vee I^M(\psi)\), (M2) \(I^M(\neg \phi) = \neg I^M(\phi)\), (M3) \(I^M(\epsilon ab) = \Diamond p_a \supset p_a. \wedge. \Box p_a \supset \Box p_b.\wedge. \Diamond p_b \supset p_a\), where \(p_a\) and \(p_b\) are propositional variables (...) corresponding to the name variables \(a\) and \(b\), respectively. In the last, we shall give some comments including some open problems and my conjectures. (shrink)

What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own (...) class='Hi'>ontology, distinct from ontologies of recordings or improvisations. Finally, I explore two aspects of dance music's aesthetics: its connection with repetition and repetitiveness and its use of electronic sounds and technologies. I conclude with some speculative thoughts about the unique relation dance music bears to repetition and electronics. This article is Part II of two; in Part I, I consider the problem of defining dance music, via the framing question of authenticity. I explore history, genre, scenes and subcultures, and blackness. (shrink)

This article deals with the question of existence by considering the way in which phenomenology has faced this issue. To provide an argument against the ontological certainties typical of idealism and realism, I try to show the possibility of a subjective reduction of the question of existence and to highlight the way in which the concept of existence may be “undermined” by this reduction. A prominent place is given to the concept of infinity for radically reassessing the content and scope (...) of the concept of existence. I try to integrate some of the main themes of Husserlian phenomenology without being restrictively committed to it. I include some discussion of foundational mathematics and of quantum physics. (shrink)

In Ontological Aspects of Early Jewish Anthropology, Tyson L. Putthoff combines contemporary theory and sound exegesis to understand early Jewish beliefs about how the human self reacts ontologically in God s presence.".

Applied ontology is the attempt to put to use the rigorous tools of philosophical ontology in the development of category systems which can be of use in the formalization and systematization of knowledge of a given domain. In what follows we shall sketch some elements of the ontology of legal and socio-political institutions, paying attention especially to the normativity involved in such institutions. We shall see that there is more than one type of normativity, but that this (...) fact that has often been ignored in standard attempts by philosophers to build ontologies of legal and other socio-political entities. In order to provide a sound system of categories for legal and socio-political institutions and entities, however, the manifold of normativity needs to be addressed. The classical examples of normative statements have been moral propositions; they do not merely describe states of affairs; they tell us how states of affairs ought to be. The distinction between how things are and how they ought to be is the basis of the distinction between fact and value. Analytic philosophers for a long time shunned discussions of normativity and ethics. They considered ethical statements as pseudo-propositions, or as expressions of pro- or con-attitudes of no theoretical significance.1 Nowadays, in contrast, prominent analytic philosophers discuss normative problems and there are important books written by such philosophers on topics such as law and justice. Here we pay attention to three seminal thinkers in this development: H. L. A. Hart, John Rawls, and John R. Searle in concerning ourselves especially with the way in which they deal with the issue of normativity. Hart is, within the context of recent analytic philosophy, the most important philosopher of law, Rawls the most.. (shrink)

The authors investigated the ontological argument computationally. The premises and conclusion of the argument are represented in the syntax understood by the automated reasoning engine PROVER9. Using the logic of definite descriptions, the authors developed a valid representation of the argument that required three non-logical premises. PROVER9, however, discovered a simpler valid argument for God's existence from a single non-logical premise. Reducing the argument to one non-logical premise brings the investigation of the soundness of the argument into better focus. Also, (...) the simpler representation of the argument brings out clearly how the ontological argument constitutes an early example of a ?diagonal argument? and, moreover, one used to establish a positive conclusion rather than a paradox. (shrink)

Sounds and Perception brings together original essays on auditory perception and the nature of sounds - an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. The (...) collection serves both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. (shrink)