Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound, it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion. The development of the Immersive Music Experience Inventory could close this gap. An initial item list was derived from studies in virtual reality and spatial audio, supplemented (...) by researcher-developed items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study. The N = 222 Participants were recruited via mailing lists and via a panel provider. Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct “immersive listening experience” was determined by probabilistic test theory and by means of the many-facet Rasch measurement. As a result, the specified MFRM model showed good model fit. The final one-dimensional inventory consists of 10 items and will be made available in English and German. (shrink)

In the current study, we aimed at understanding the effect of exposure to complex input on speech sound development, by conducting a systematic meta-analysis review of the existing treatment-based studies employing complex input in children with speech sound disorders. In the meta-analysis review, using a list of inclusion criteria, we narrowed 280 studies down to 12 studies. Data from these studies were extracted to calculate effect sizes that were plotted as forest plots to determine the efficacy of (...) complexity-based treatment approaches. The outcome variables of interest were improvement on the treated and generalization to the untreated sounds. Meta-analysis revealed that the exposure to complex input not only promoted improvement in production of complex speech sounds but also facilitated the production of untreated simple speech sounds. Overall, the current findings revealed that the exposure to complex input promotes acquisition of both complex and simple speech sounds. The current findings are in line with the models of language learnability. The current findings have implications in the treatment of speech sound disorders. (shrink)

Misophonia has been characterized as intense negative reactions to specific trigger sounds. However, recent research suggests high-level, contextual, and multisensory factors are also involved. We recently demonstrated that neurotypicals’ negative reactions to aversive sounds are attenuated when the sounds are synced with positive attributable video sources. To assess whether this effect generalizes to misophonic triggers, we developed a Sound-Swapped Video database for use in misophonia research. In Study 1, we created a set of 39 video clips depicting common trigger (...) sounds and a corresponding set of 39 PAVS temporally synchronized with the OVS videos. In Study 2, participants rated the 39 PAVS videos for their audiovisual match and pleasantness. We selected the 20 PAVS videos with best match scores for use in Study 3. In Study 3, a new group of participants observed the 20 selected PAVS and 20 corresponding OVS and judged the pleasantness or unpleasantness of each sound in the two contexts accompanying each video. Afterward, participants completed the Misophonia Questionnaire. The results of Study 3 show a robust attenuating effect of PAVS videos on the reported unpleasantness of trigger sounds: trigger sounds were rated as significantly less unpleasant when paired with PAVS with than OVS. Moreover, this attenuating effect was present in nearly every participant regardless of their score on the MQ. In fact, we found a moderate positive correlation between the PAVS-OVS difference and misophonia severity scores. Overall our results provide validation that the SSV database is a useful stimulus database to study how misophonic responses can be modulated by visual contexts. Here, we release the SSV database with the best 18 PAVS and 18 OVS videos used in Study 3 along with aggregate ratings of audio-video match and pleasantness. We also provide detailed instructions on how to produce these videos, with the hope that this database grows and improves through collaborations with the community of misophonia researchers. (shrink)

One of the most important issues for the ideal transmission of hadith texts and isnāds is that there is no error in the writing of these expressions. For this purpose, it is seen that the hadith scholars try to create an awareness about the mistakes in the hadiths and the names of the narrators and try to minimize the mistakes by writing works. The most important examples of this literature seems to have been given in IV. /X century. In this (...) study, the reasons for the increase in the literature of hadith taṣḥīf in the IV./X century will be tried to be analyzed periodically and regionally. When the reasons for this increase are taken into consideration, it can be stated that the main factors come to the fore as the active transmission of works in the relevant period, the development of narrator literature, the decline in the profile of the narrator in this century, and the need of the Ahl al-Hadith living in the ʿAd̲j̲am regions on the subject. It is seen that the hadith scholars’ special requests from Arabic language experts for writing works also affected the formation of taṣḥīf literature. Their display of such an attitude is also important in terms of pointing out the existence of inter-scientific communication and a self-criticism about incompetent fields. (shrink)

I defend and develop a traditional view in the metaphysics of sound, The Wave Theory of Sound. According The Wave Theory, as developed herein, sounds are not patterned disturbances so much as their propagation. And the propagation of a patterned disturbance is not a form of travel, but a dynamic in-formation, the wave-form successively inhering in diferently located parts of the dense and elastic medium. This conception, along with the assumption that we hear not only sounds but their (...) sources, has the resources to address many of the most recent criticisms of this traditional view. (shrink)

Sound-symbolism is the nonarbitrary link between the sound and meaning of a word. Japanese-speaking children performed better in a verb generalization task when they were taught novel sound-symbolic verbs, created based on existing Japanese sound-symbolic words, than novel nonsound-symbolic verbs (Imai, Kita, Nagumo, & Okada, 2008). A question remained as to whether the Japanese children had picked up regularities in the Japanese sound-symbolic lexicon or were sensitive to universal sound-symbolism. The present study aimed to (...) provide support for the latter. In a verb generalization task, English-speaking 3-year-olds were taught novel sound-symbolic verbs, created based on Japanese sound-symbolism, or novel nonsound-symbolic verbs. English-speaking children performed better with the sound-symbolic verbs, just like Japanese-speaking children. We concluded that children are sensitive to universal sound-symbolism and can utilize it in word learning and generalization, regardless of their native language. (shrink)

What is the relationship between sounds and time? More specifically, is there something essentially or distinctively temporal about sounds that distinguishes them from, say, colors, shapes, odors, tastes, or other sensible qualities? And just what might this distinctive relation to time consist in? Apart from their independent interest, these issues have a number of important philosophical repercussions. First, if sounds are temporal in a way that other sensible qualities are not, then this would mean that standard lists of paradigm secondary (...) qualities offered by Locke, Galileo, and other modern philosophers — lists which include colors, odors and sounds without any significant distinctions — overlook significant metaphysical differences. This, in turn, would threaten to undermine the coherence of the modern understanding of secondary qualities itself. Moreover, a number of authors have recently urged that the essential temporality of sounds makes it impossible to understand sounds as properties (except on a trope theory of properties; see note 3). If true, and given the more or less universal view that colors are properties, this last conclusion would make potentially inapplicable to sounds much of the comparatively well-developed philosophical taxonomy and apparatus that has arisen in philosophical disputes over the status of colors (for presentations of this taxonomy and apparatus see, for example, Byrne and Hilbert (2003); Cohen (2008b)).1 Therefore, the conclusion that sounds are distinctively temporal would be a serious blow to hopes for a theoretically unified treatment of the sensory qualities.2 For all these reasons, quite a lot seems to hang on the question of the temporality of sounds. (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)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

Acoustic experiences of nature represent a growing area in restorative environments research and are explored in this narrative literature review. First, the work surveyed indicates that nature is broadly characterized by the sounds of birdsong, wind, and water, and these sounds can enhance positive perceptions of natural environments presented through visual means. Second, isolated from other sensory modalities these sounds are often, although not always, positively affectively appraised and perceived as restorative. Third, after stress and/or fatigue nature sounds and soundscapes (...) can lead to subjectively and objectively improved mood and cognitive performance, as well as reductions in arousal, although some inconsistencies in findings are observed. Fourth, theoretical frameworks of restorative environments would benefit from inclusion of acoustic environmental properties such as sound intensity or frequency. Fifth, findings regarding positive, learned semantic associations with nature have arisen as a result of recent work on sounds and restoration. This represents another important area of potential theoretical development for broader restorative environments research. (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)

This book takes an exciting perspective on language change, by explaining it in terms of Darwin's evolutionary theory. Looking at a number of developments in the history of sounds and words, Nikolaus Ritt shows how the constituents of language can be regarded as mental patterns, or 'memes', which copy themselves from one brain to another when communication and language acquisition take place. Memes are both stable in that they transmit faithfully from brain to brain, and active in that their success (...) at replicating depends upon their own properties. Ritt uses this controversial approach to challenge established models of linguistic competence, in which speakers acquire, use, and shape language. In Darwinian terms, language evolution is something that happens to, rather than through, speakers, and the interests of linguistic constituents matter more than those of their human 'hosts'. This book will stimulate debate among evolutionary biologists, cognitive scientists and linguists alike. (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)

A new, provocative study of the ethical, political, and social meanings of the everyday voice. Utilising the framework of feminist philosophy, authors Ann J. Cahill and Christine Hamel approach the phenomenon of voice as a lived, sonorous and embodied experience marked by the social structures that surround it, including systemic forms of injustice such as ableism, sexism, racism, and classism. By developing novel theoretical constructs such as "intervocality" and "respiratory responsibility," Cahill and Hamel cut through the static between theory and (...) praxis and put forward exciting theories on how human vocal sound can perpetuate -- and challenge -- persistent inequalities. Sounding Bodies presents a powerful model of how the seemingly disparate disciplines of philosophy and voice/speech training can, in conversation with each other, generate illuminating insights about our vocal lives and identities. (shrink)

Our cultural climate is increasingly dependent upon visual space. Media and communication for the most part are exemplified through television and the Internet. Aural space has, for the moment, become an ambient presence. The aim of this article is to develop a phenomenological approach to interpreting our sonic environment by drawing upon a range of sound-scape theorists. I will, in some cases, provide a counter-argument to established theses, and in doing so endeavour to open up fresh debate for future (...) sonic enterprises. (shrink)

Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.

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)

In 1944 Hans Reichenbach developed a three-valued propositional logic (RQML) in order to account for certain causal anomalies in quantum mechanics. In this logic, the truth-value _indeterminate_ is assigned to those statements describing physical phenomena that cannot be understood in causal terms. However, Reichenbach did not develop a deductive calculus for this logic. The aim of this paper is to develop such a calculus by means of First Degree Entailment logic (FDE) and to prove it sound and complete with (...) respect to RQML semantics. In Section 1 we explain the main physical and philosophical motivations of RQML. Next, in Sections 2 and 3, respectively, we present RQML and FDE syntax and semantics and explain the relation between both logics. Section 4 introduces \(\varvec{\mathcal {Q}}\) calculus, an FDE-based tableaux calculus for RQML. In Section 5 we prove that \(\varvec{\mathcal {Q}}\) calculus is sound and complete with respect to RQML three-valued semantics. Finally, in Section 6 we consider some of the main advantages of \(\varvec{\mathcal {Q}}\) calculus and we apply it to Reichenbach’s analysis of causal anomalies. (shrink)

With the end of the cold war, issues of environment and economic development are assuming greater international salience. By the 1970s, environmental degradation was becoming pervasive, with growing global effects. Increasingly, global and emergent globalized problems are forcing environmental interdependence on the world. Transboundary threats cannot be addressed unilaterally by any single country or group of countries. The global environmental agenda is reviving the North-South debate and rejuvenating the Third World coalition in international fora. The encouragement of environmentally sustainable (...) forms of industrialization in the South requires expanded and improved international cooperation. However, the North’s greater resources and greater responsibility in causing global environmental degradation require its continuing involvement in the search for solutions, including ones applicable to newly industrializing countries. In June 1992, the largest intergovernmental conference ever held was convened in Rio de Janeiro to address these issues: the United Nations Conference on Environment and Development (UNCED, or the Earth Summit). It produced a consensus action plan of about 700 pages: Agenda 21. Agenda 21 presents massive challenges for international cooperation as well as for national and private actors and scientific and technical institutions. It reflects a complex configuration of demands for institutional arrangements that support environmentally sustainable technical and socioeconomic change. One of the most consistent of the Agenda 21 themes, and one of the most intractable issues, concerns “access to technology.” This can be as straightforward as diagnosing and improving the efficiency of a production process in a small manufacturing firm, or as complex as engineering a technological revolution in which production and consumption take place with virtually no material or energy loss to the environment. The selection of entry points for action is a critical strategic problem as well as an important operational issue. In this paper I identify and describe new initiatives intended to improve the environmental performance of industry in the South, and find that they largely aim to promote incremental industrial innovation through international technology transfer and diffusion. This strategy raises many questions about how to promote effective technology transfer and diffusion. (shrink)

Wittgenstein is apparently contending that it is simply linguistic habit that gives us the impression that the question “who or what…?” fits the subject expression of the sentence. The logical conclusions in this chapter show that the strong reading of the proposed thesis developed here of a purely sound‐oriented character of the grammar of a single language (in this case, English) cannot be entirely right, and might not even be what Wittgenstein intended, because he only spoke of the (...) class='Hi'>sound as one characteristic of the concept of a sentence. The author seeks a twofold understanding of the grammatical: on the one hand it should grasp sentences as whole units (not aggregates of the “singing from the score” type); on the other hand it should help us better understand the motivation for Wittgenstein's thesis that the grammatical concept of a sentence is oriented by (among other things) sound. (shrink)

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of (...) testing whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)

A number of philosophers defend naturalistic moral realism by appeal to an externalist semantics for moral predicates. The application of semantic externalism to moral predicates has been attacked by Terence Horgan and Mark Timmons in a series of papers that make use of their “ Moral Twin Earth ” thought experiment. In response, several defenders of naturalistic moral realism have claimed that the Moral Twin Earth thought experiment is misleading and yields distorted and inaccurate semantic intuitions. If they are right, (...) the intuitions generated by Moral Twin Earth cannot be appealed to in arguments against externalist moral semantics. The most developed case against the Moral Twin Earth argument that follows this strategy is found in a paper by Stephen Laurence, Eric Margolis and Angus Dawson. Here I argue that their attack on the Moral Twin Earth thought experiment fails. Laurence, Margolis and Dawson have not shown that we have reason to distrust the semantic intuitions it generates. (shrink)

What is poetry’s so-called ‘form-content unity’? In this paper, I argue that the idea of ‘form-content unity’, as derived from A. C. Bradley’s 1901 lecture, has been misconstrued by Peter Kivy, who believes that it is confused and vague. I argue that it has also been misconstrued, however, by the philosophers who find the idea insightful and instructive and present themselves as defending and developing it against Kivy’s criticisms. Crucially, Bradley’s argument emphasizes that hearing is necessary to any ‘poetic’ reading (...) of a metrical poem, but this focus on sound and metre tends to be ignored. A precision of terminology—particularly a reformulation of the paraphrase ‘form-content unity’—offers an improved understanding of Bradley’s claims. The lecture, I argue, properly understood, in fact supports the call for a shift of attention away from understanding poems as ‘form-content unities’ in the philosophy of poetry. (shrink)

In November 2018, the practice of health care ethics consultation crossed a major threshold when 138 candidates took the inaugural Healthcare Ethics Consultant Certification Examination. This accomplishment, long in the making, has had and continues to have both advocates and critics. The Healthcare Ethics Consultant Certification Commission, a functionally autonomous body created and funded by the American Society for Bioethics and Humanities, was charged with overseeing creation of the certification process, developing the exam, and formulating certification standards and policies to (...) assess candidates’ qualifications. In this essay, as members of the commission, we describe the process of developing, administering, and scoring the certification examination as well as the historical context and the outlook for certification. By detailing the decisions and actions of the commission, we aim to provide a transparent account of the commission's efforts to develop a psychometrically sound, reliable, and secure examination through a deliberative, fair, and data‐driven process. (shrink)

From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the (...) twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general. (shrink)

Les liens entre les aspects de la cognition et des émotions d’une part et entre l’esprit et le corps d’autre part ont été bien expliqués par les neurosciences. Les praticiens de la réflexion critique et des processus de l’apprentissage transformateurs dans le domaine de l’ éducation des adultes ont bien saisi cette compréhension plus holistique de la nature humaine, d’une façon autant empirique qu’intuitive. Cependant, la théorie-clé dans ce domaine (la théorie de l’apprentissage transformateur de Mezirow), a fait l’objet de (...) critiques quant à son intérêt pour les aspects rationnels et cognitifs de l’apprentissage. Mais peu de travaux ont étudié les dimensions émotionnelles et sociales de l’apprentissage transformateur.. De même, la conceptualisation des processus de réflexion semble relever davantage de la sophia que de la phronèsis. Cela conduit à considérer cette théorie d’un point de vue idéaliste. Cet article propose une réflexion théorique fondée sur l’analyse de la théorie de Mezirow et sur la compréhension des processus de conceptualisation de la réflexion en mobilisant les connaissances issues des neurosciences. La théorie présentée explique comment la cognition et les émotions sont étroitement liées dans les processus de réflexion. De plus, cette article propose une base conceptuelle et des outils à l’usage de praticiens souhaitant mobiliser la théorie de l’apprentissage transformateur. (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)

One of the less well-researched areas in the recent renaissance of the study of Reformed orthodoxy is anthropology. In this contribution, we investigate a core topic of Reformed orthodox theological anthropology, viz. its treatment of the human being as created in the image of God. First, we analyze the locus of the imago Dei in the Leiden Synopsis Purioris Theologiae. Second, we highlight some shifts of emphasis in Reformed orthodox treatments of this topic in response to the budding Cartesianism. In (...) particular, the close proximity of the unfallen human being and God was carefully delineated as a result of Descartes’s positing of a univocal correspondence between God and man; and the Cartesian suggestion that original righteousness functioned as a barrier for certain natural impulses, was rejected. Third, we show how, in response to the denial of this connection, the image of God was explicitly related to the concept of natural law. Tying in with similar findings on other loci, we conclude that Reformed orthodox thought on the imago Dei exhibits a variegated pattern of extensions, qualifications, and adjustments of earlier accounts within a clearly discernable overall continuity. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue (...) class='Hi'>development with Foucauldian resistance strategies. (shrink)

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

A fundamental concept of a philosophy of music is that of sound. Any investigation of this concept has to be ontologically as well as epistemically adequate. The main proposition of the article is that sounds can only be understood ontologically if we take into consideration their main characteristic of being strictly shapeless and lacking content, an insight that we can learn from Kant. In contradiction to Kant, sounds can be epistemologically characterized as objects that can only be re-presented if (...) the hearer co-presents their temporal extension. The argument is developed through a discussion of the work of P. F. Strawson, G. Evans, R. Scruton, and H. Riemann. (shrink)

How is it possible for sounds to be sound? The evanescence of sounds seems to provide us with no more than a fragile foundation, even if echo and resonance offer fleeting extensions of sonic moments. Historians of the senses have told us that despite the importance of audition and orality in antiquity and the Middle Ages, modernity has privileged vision, and this predilection has accompanied and buttressed modern attempts in science and philosophy to provide a firm foundation for knowledge. (...) The development of sound studies in the last two or three decades has subtly—and progressively more explicitly—begun to propose a shift in how a foundation, a ground, could be conceived. What is the nature of this shift?We need... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies.1.1 (2001) 129-130 [Access article in PDF] Book Review The Sound of Liberating Truth: Buddhist-Christian Dialogues in Honor of Frederick J. Streng The Sound of Liberating Truth: Buddhist-Christian Dialogues in Honor of Frederick J. Streng.Edited by Sallie B. King and Paul O.Ingram. Surrey: Curzon Press, 1999. Fred Streng was a close friend of mine. We were born the same year, 1933, and shared many interests. The (...) last time I saw him was in 1992, in Boston.We both took part in the Society for Buddhist-Christian Studies' fourth Buddhist-Christian Dialogue Conference, we both also delivered sermons at Boston University's chapel, and both of us gave commemorative addresses at a memorial service for Dr. Martin Luther King Jr. I was in exile at the time, fleeing from the oppression of the Thai National Peacekeeping Council, which had staged a coup d'etat the year before. Fred offered sincere concern for my well-being and safety, and he encouraged me, when it was most needed, to complete my work on socially engaged Buddhism. Not long after that, I received the tragic news that Fred had died of cancer at age sixty.I've always admired Fred Streng's positive disposition. His metta karuna,.oving and compassionate way, deeply shone through him. And his religious views, though different from mine, were always captivating. Fred was a Christian, yet his attitude and works greatly benefited a Theravada Buddhist like me. I especially learned from his Emptiness: AStudy in Religious Meaning.1974) and the textbook series, "Understanding Religious Life," that he edited.We are in need of different ways of perceiving and understanding reality, ways in which the brain and mind/heart are able to unite as one. In his summary of Dr. Streng's thinking, Paul Ingram summarizes his commitment to interreligious dialogue as a path in itself: [H]e was convinced that religious knowledge and authentic living at their deepest level are dependent upon seeking out alternative forms of religious experience, comparing them, and entering into dialogue with them. Interreligious dialogue, he believed, may involve (1) a mystical sense of unity underlying the diversity of humanity's ways of being religious, (2) the perception that the religious ways of humanity are alternative or complementary means of ultimate transformation, (3) a focus on enriching one's personal faith and participation in one's own religious tradition, or (4) a combination of all three of [End Page 129] the above. Fred also developed these themes further in an essay entitled "Selfhood without Selfishness: Buddhist and Christian Approaches to Authentic Living" (pp. xiv-xv). Reading The Sound of Liberating Truth,.he new collection of writings in Frederick Streng's honor edited by Sallie King and Paul Ingram, evokes fond memories of this kayanamittata(spiritual friend). The book's title is not just appealing and meaningful, it was the "life koan" that Fred grappled with during his final years: what is the sound of liberating truth? Religions can be more harmful and corrupting than even Marx thought. But the highest intention of religions remains unsurpassed--the ultimate transformation from selfishness to selflessness. In a genuine way, this book is a vehicle for helping us realize this noble outcome.I am truly impressed by the wide range of ideas I have picked up reading this volume. In addition to the important contributions by the book's two editors, there are thought-provoking articles by David Chappell and Winston King on "Interreligious Dialogue," by Bonnie Thurston and Paula Cooey on "Nature and Ecology," by Sallie King and John Keenan on "Social and Political Issues of Liberation," and by Tom Kasulis and Ruben Habito on "Ultimate Transformation or Liberation." In each of these, there are challenging dialogues and good responses, too. The Buddhist and Christian epilogues by Taitetsu Unno and John Cobb, respectively, crown all the other dialogues in depth and thoughtfulness.This volume is a well-deserved tribute to Frederick J. Streng, whose memory will be with his many friends--Buddhists, Christians, and so many others... (shrink)

There are simple, purely syntactic axiomatic proof systems for both the logical truths and the logical falsehoods of propositional logic. However, to date no such system has been developed for the logical contingencies, that is, formulas that are both satisfiable and falsifiable. This paper formalizes the purely syntactic axiomatic proof systems for the logical contingencies and proves its soundness as well as completeness.

Natural language contains many examples of sound-symbolism, where the form of the word carries information about its meaning. Such systematicity is more prevalent in the words children acquire first, but arbitrariness dominates during later vocabulary development. Furthermore, systematicity appears to promote learning category distinctions, which may become more important as the vocabulary grows. In this study, we tested the relative costs and benefits of sound-symbolism for word learning as vocabulary size varies. Participants learned form-meaning mappings for words (...) which were either congruent or incongruent with regard to sound-symbolic relations. For the smaller vocabulary, sound-symbolism facilitated learning individual words, whereas for larger vocabularies sound-symbolism supported learning category distinctions. The changing properties of form-meaning mappings according to vocabulary size may reflect the different ways in which language is learned at different stages of development. (shrink)

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. (...) The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations. (shrink)

The strategy I adopt in this paper is as follows. First I seek to show that the authors’ formulation of the notion of "determinism" is defective because it elides some important distinctions. Second, I go on to argue that these defects vitiate some of the contentions made in the paper and alert us to the inadequacy of the self-referential argument developed in it.

Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on screen. While music has played a central role in film narrative since the conception of moving pictures, the representation of music listening has remained a special occurrence.In Situated Listening: The Sound of Absorption in Classical Cinema, author Giorgio Biancorosso argues for a redefinition of the music listener as represented in film. Rather than construct the listener as a reverential concertgoer, music analyst, or (...) gallery dweller, this book instead shows how films offer a new way of thinking about listening as distributed experience, an activity made public and shareable across vast cultural spaces rather than an insular motion. It shows how cinema functions as not only a reservoir of established modes of listening, but also an agent in the development of new listening practices. As Biancorosso argues, many films have perpetuated a long-existing paradox of music as a means of silencing. Consider an aggressive score overlaying battle scenes or a romantic scene conveying unspoken intimacy. In the place of conversational exchange exists a veil of sound in the form of music, and Situated Listening explains why this function influences both the course of interpretation and empathy experienced by film spectators. By focusing on cinematic, physical, and emotional scenery surrounding a character, viewers can recognize aspects of their own lives, developing a deeper empathy for each fictional character through real and shared listening practices. (shrink)

The production of good sound generation in the violin is a complex task that requires coordination and spatiotemporal control of bowing gestures. The use of motion-capture technologies to improve performance or reduce injury risks in the area of kinesiology is becoming widespread. The combination of motion accuracy and sound quality feedback has the potential of becoming an important aid in violin learning. In this study, we evaluate motion-capture and sound-quality analysis technologies developed inside the context of the (...) TELMI, a technology-enhanced music learning project. We analyzed the sound and bow motion of 50 participants with no prior violin experience while learning to produce a stable sound in the violin. Participants were divided into two groups: the experimental group received real-time visual feedback both on kinematics and sound quality, while participants in the control group practiced without any type of external help. An additional third group of violin experts performed the same task for comparative purposes. After the practice session, all groups were evaluated in a transfer phase without feedback. At the practice phase, the experimental group improved their bowing kinematics in comparison to the control group, but this was at the expense of impairing the sound quality of their performance. At the retention phase, the experimental group showed better results in sound quality, especially concerning control of sound dynamics. Besides, we found that the expert group improved the stability of their sound while using the technology. All in all, these results emphasize the importance of feedback technologies in learning complex tasks, such as musical instrument learning. (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)

Micheal Snow's talking picture »Rameau's Nephew […]« develops an ever unstable taxonomy of audio-visual relations in the talking movie. The contribution investigates this experimental film by following three motives – translation, surface, water – with which the talking movie reflects itself. Thus, moments of transition between mere technical lip-sync and »synchresis« – prove to be a critical point of the talking movie. In this perspective, synchronization is to be understood as a process which distributes and correlates potentials of homogenization and (...) heterogenization German Michael Snows » talking picture « »Rameau's Nephew […]« entwickelt eine – laufend aus den Fugen geratende – Taxonomie audiovisueller Verhältnisse des Tonfilms. Der Beitrag durchstreift diesen Experimentalfilm, indem er drei Motive – Übersetzung, Fläche, Wasser – nachverfolgt, an denen Tonfilm erprobt, reflektiert und erfahrbar wird. Dabei kristallisiert sich in Umschlagsmomenten zwischen technischer Bild-Ton-Synchronisation und »Synchresis« – irreduzibel audiovisuelle Synthese der Wahrnehmung – ein kritischer Punkt des Mediums Tonfilm heraus. Synchronisation ist von solchen Momenten aus als Prozess zu verstehen, in dem Potenziale von Homogenisierung und Heterogenisierung verteilt und aufeinander bezogen werden. (shrink)