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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic preference for nature soundscapes (...) was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed. (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)

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

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

This article analyses the connections between forms of solitary automobile habitation and the use of mobile sound technologies in automobiles: the radio, cassette, sound system and mobile phone. It does this through an empirically informed analysis of automobile use. In doing so it re-evaluates our understanding of the occupation of space and place, arguing that traditional concepts of urban space have underestimated the active role that the users of these communication technologies might have in transforming the meaning of (...) these spaces as they pass through them. The article points to the powerful, and potentially problematic, role that sound technologies play in the daily experience of moving through the city. (shrink)

In recent years, more and more people are applying Convolutional Neural Networks to the study of sound signals. The main reason is the translational invariance of convolution in time and space. Thereby the diversity of the sound signal can be overcome. However, in terms of sound direction recognition, there are also problems such as a microphone matrix being too large, and feature selection. This paper proposes a sound direction recognition using a simulated human head with microphones (...) at both ears. Theoretically, the two microphones cannot distinguish the front and rear directions. However, we use the original data of the two channels as the input of the convolutional neural network, and the resolution effect can reach more than 0.9. For comparison, we also chose the delay feature (GCC) for sound direction recognition. Finally, we also conducted experiments that used probability distributions to identify more directions. (shrink)

The Qurʾān was taught in the letter method for many years. After the names of the letters in the Arabic alphabet are memorized in this method, the teaching of origins and signs begins. The syllabic method was developed over time as an alternative to this method, and the letters were taught directly with their superior vowel signs without memorizing their names. Unlike these two methods, the sound-based alif ba method has begun to be used in recent years. This method (...) coincides with the primary literacy teaching method based on the sounds thatwere adopted in Turkish teaching since 2005. Basic principles such as teaching the letters one-by-one, following the sound learning stages in teaching each sound, conducting the lessons in class, reading the syllables and words formed with the learned letters from the first day are adopted in both teaching methods. The purpose of the present study was to find out how the Qurʾān can be taught by applying the sound-based alif ba method and to draw attention to the original aspects of this method for learning the Qurʾān with the right sounds. Since the correct teaching of the Qurʾān is closely related to the teacher’s content knowledge and teaching skills, the alif ba that will be used and the method to be applied are important in reaching the target more systematically and faster. The case study design was used in the study in which the qualitative method was employed. The primary data of the study were Sound-Based Alif ba, for which I was the project assistant of, and the book with the title A New Approach in Teaching the Qurʾān: Sound based Alif baand Tajwīd Method, which was an editorial book of which I was one of the authors, and the thirty-episode series We Are Children and We Are Reading the Qurʾān, published on Diyanet TV, for which I was the production coordinator. Also, to see the applicability of the method, interviews were conducted with eight instructors who used Sound-Based Alif ba in their lessons. The study received ethical approval from Ankara Social Sciences University Rectorate Social and Human Sciences Research and Scientific Publication Ethics Committee on 8 July 2021 with the decision no 12450. The main thing in the sound-based alif ba method is the correct vocalization of the Qurʾān. The letters in alif ba are arranged differently from the classical alphabet order and are divided into six groups considering the frequency of occurrence in the Qurʾān and the degree of difficulty of origins. Each letter is taught in a separate lesson with the support of the ḥarakas and the sukūn (such as اَلْ, اِلْ, اُلْ). During the teaching, attention is paid to the sound learning steps, and the student is expected to feel the sound of the letter to be learned, distinguish it from other letter sounds, and then pronounce it from the correct origin as much as possible. In the sound-based alif ba method, the teaching of the shape of the letter is done after the sound of the letter is pronounced. During the teaching of the shapes of the letters, the part of the letter that does not change when written within a word is emphasized, and the writing is used so that the shape of the letter can be placed in the mind of the student. In the sound-based alif ba teaching, reading from the Qurʾān is done in every lesson, starting from the teaching of the first letter. During the teaching of alif ba, educational games, question-answer, and narration methods are used, primarily with the taʿlīm method. In this way, the teaching of Sound-Based Alif ba is spread over a period of 40 lessons. The study findings showed that the sound-based alif ba method has similar characteristics with the sound-based primary literacy teaching method; however, Arabic has its own unique aspects with its language structure. Among these originalities, which is adopted in the teaching of letters, firstly teaching the letter with the sukūn and with the support of movable ا and then showing the shape of the letter is carried out. As a matter of fact, the teachers have the opinion that this vocalization method, which is adopted, facilitates the learning of the correct sounds, and that teaching the letters in line with the sound learning steps increases the efficiency of the lesson. Although most of the instructors pointed out to the positive aspects of teaching tajwīd sounds in alif ba, one of the instructors did not find it necessary. The opinions of the teachers showed that the sound-based alif ba method can be applied efficiently in online lessons, but the teacher-student relation is affected negatively when compared to the classroom setting. All of the instructors said that the materials used in the lessons and demonstration and educational game methods increased the quality of the course, and that the We Are Children We Are Reading the Qurʾān program is an important resource for them. (shrink)

This article presents empirical evidence of the high referential specificity of sound-symbolic words, based on a FrameNet-aided analysis of collocational data of Japanese mimetics. The definition of mimetics, particularly their semantic definition, has been crosslinguistically the most challenging problem in the literature, and different researchers have used different adjectives (most notably, “vivid,” since Doke 1935) to describe their semantic peculiarity. The present study approaches this longstanding issue from a frame-semantic point of view combined with a quantitative method. It was (...) found that mimetic manner adverbials generally form a frame-semantically restricted range of verbal/nominal collocations than non-mimetic ones. Each mimetic can thus be considered to evoke a highly specific frame, which elaborates the general frame evoked by its typical host predicate and contains a highly limited set of frame elements, which correlate and constrain one another. This conclusion serves as a unified account of previously reported phenomena concerning mimetics, including the lack of hyponymy, the one-mimetic-per-clause restriction, and unparaphrasability. This study can be also viewed as a methodological proposal for the measurement of frame specificity, which supplements bottom-up linguistic tests. (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)

The current literature on norms of inquiry features two families of norms: norms that focus on an inquirer’s ignorance and norms that focus on the question’s soundness. I argue that, given a factive conception of ignorance, it’s possible to derive a soundness-style norm from a version of the ignorance norm. A crucial lemma in the argument is that just as one can only be ignorant of a proposition if the proposition is true, so one can only be ignorant with respect (...) to a question if the question is sound. (shrink)

Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound (...) perception in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms. (shrink)

Abstract:Whereas utopia is the vision of an ideal community, dystopias create the image of a cataclysmic decline of society and environment. This article deals with the construction of personal agency and the analysis of digital simulation that is reflected in an online commercial for a first-person survival horror video game. Agency is understood here as the capacity to act in the virtual environment that is ascribed to the actor by the marketing strategy. Applying approaches from phenomenology, simulation theory, and (...) class='Hi'>sound studies, the analysis proceeds in reference to a corresponding educational political agenda. The findings show a certain discrepancy between the more utopian education political rhetoric and the more dystopian construction of personal agency in the video game context, a discrepancy from which specific educational challenges emerge. Finally, even if a case study generally cannot be seen as representative, its results present a direction for the further investigation of virtual reality from the education perspective as suggested by international policies. (shrink)

In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a (...) problem with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us. (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)

Researchers typically use the “big five” traits as a standard way to describe personality. Evaluation of personality is generally conducted using self-report questionnaires that require participants to respond to a large number of test items. To minimize the burden on participants, this paper proposes an alternative method of estimating multidimensional personality traits from only a single word. We constructed a system that can convert a sound-symbolic word that intuitively expresses personality traits into information expressed by 50 personality-related adjective pairs. (...) This system can obtain information equivalent to the adjective scales using only a single word instead of asking many direct questions. To achieve this, we focused on SSWs in Japanese that have the association between linguistic sounds and meanings and express diverse and complex aspects of personality traits. We evaluated the prediction accuracy of the system and found that the multiple correlation coefficients for 48 personality-related adjective pairs exceeded 0.75, indicating that the model could explain more than half of the variations in the data. In addition, we conducted an evaluation experiment in which participants rated the appropriateness of the system output using a seven-point scale. The average score for 50 personality-related adjective pairs was 1.25. Thus, we believe that this system can contribute to the field of personality computing, particularly in terms of personality evaluation and communication. (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)

Jean Paul Sartre in his essay, "On 'The Sound and the Fury': Time in the work of Faulkner," states that the technique of the fiction writer always relates back to his metaphysics (OSF 79). Faulkner's clock-based or chronological metaphysics of time found in The Sound and the Fury is the focal point of Sartre's criticism of this work. His main criticism that the novel's metaphysics of time leaves its characters with only pasts and no futures led some Faulkner (...) scholars to seek the future in it while providing their own interpretation of time in Faulkner's work. However, although many of these works were inspired by Sartre's original contribution, none of them have attempted to provide an expanded Sartrean interpretation of the novel's metaphysics of time in light of some of his more elaborate remarks on time and temporality found in Being and Nothingness. The primary purpose of this study is to provide this expanded interpretation by first elucidating Sartre's criticisms of Faulkner's chronological metaphysics found in his original essay, and then analyzing each of the novel's four main sections under Sartre's theory of temporality and emotions. (shrink)

Alcohol addiction can lead to health and social problems. It can also affect people's emotions. Emotion plays a key role in human communications. It is important to recognize the people's emotions at the court and infer the association between the people's emotions and the alcohol addiction. However, it is challenging to recognize people's emotions efficiently in the courtroom. Furthermore, to the best of our knowledge, no existing work is about the association between alcohol addiction and people's emotions at court. In (...) this paper, we propose a deep learning framework for predicting people's emotions based on sound perception, named ResCNN-SER. The proposed model combines several neural network-based components to extract the features of the speech signals and predict the emotions. The evaluation shows that the proposed model performs better than existing methods. By applying ResCNN-SER for emotion recognition based on people's voices at court, we infer the association between alcohol addiction and the defendant's emotion at court. Based on the sound source data from 54 trial records, we found that the defendants with alcohol addiction tend to get angry or fearful more easily at court comparing with defendants without alcohol addiction. (shrink)

We performed an EEG graph analysis on data from 31 typical readers and 24 dyslexics, recorded while they were engaged in an audiovisual task and during resting-state. The task simulates reading acquisition as participants learned new letter-sound mappings via feedback. EEG data was filtered for the delta, theta, alpha, and beta bands. We computed the Phase Lag Index to provide an estimate of the functional connectivity between all pairs of electrodes per band. Then, networks were constructed using a Minimum (...) Spanning Tree, a unique sub-graph connecting all nodes without loops, aimed at minimizing bias in between groups and conditions comparisons. Both groups showed a comparable accuracy increase during task blocks, indicating that they correctly learned the new associations. The EEG results revealed lower task-specific theta connectivity, and lower theta degree correlation over both rest and task recordings, indicating less network integration in dyslexics compared to typical readers. This pattern suggests a role of theta oscillations in dyslexia and may reflect differences in task engagement between the groups, although robust correlations between MST metrics and performance indices were lacking. (shrink)

Industrial wind turbines are frequently thought of as benign. However, the literature is reporting adverse health effects associated with the implementation of industrial-scale wind developments. This article explores the historical evidence about what was known regarding infra and low-frequency sound from wind turbines and other noise sources during the period from the 1970s through the end of the 1990s. This exploration has been accomplished through references, personal interviews and communications, and other available documentation. The application of past knowledge could (...) improve the current siting of industrial wind turbines and avoid potential risks to health. (shrink)

New and expanded edition of the now classic study in the phenomenology of sound.

This article discusses two interpretations of musical harmony around the 3rd century BCE based on the Xunzi 荀子 and the Lüshi Chunqiu 呂氏春秋, comparing the concepts of resonance between sound and qi 氣 in each interpretation. The Xunzi supports the moral influence of the sage kings’ music where ethical resonance between sound and bodily qi serves as firm ground for musical harmony begetting social harmony. In contrast, the Lüshi Chunqiu advocates the idea of physical resonance between sound (...) and cosmic qi whereby musical harmony acts as a contributor to cosmic harmony. In discussing resonance between sound and qi, the Xunzi restricts its scope to the human realm while the Lüshi Chunqiu extends it more broadly to the cosmic realm, which indicates that humans foster cosmic harmony. This broader perspective is an adequate reflection of the germinating idea of a resonant correlation between the human and cosmic realms. (shrink)