Listening and Voice is an updated and expanded edition of Don Ihde's groundbreaking 1976 classic in the study of sound.

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

A study of phenomena familiar to us but largely overlooked in our everyday lives and in philosophy—the phenomena of sound. The author, in what is almost a meditative form of writing, wishes to disengage the reader from the predominant, visualist tradition in philosophy and western thought generally and to reintroduce listening and sound as autonomous realms of experience. What he develops is a phenomenology of sound which utilizes themes from the works of both Husserl and Heidegger. (...) Husserl himself did not completely escape the dominance of the visualist tradition in western thought. For him perceptual experience was primarily visual. However, according to Ihde, the emphasis on a description of experience in the phenomenological reduction provides categorical schema for understanding sound and a basis for surveying the auditory terrain and the "voices" of the world as independent phenomena. Husserl’s analysis of perceptual experience distinguishes between focus, fringe, horizon, and that which is absent or empty in experience, and Ihde applies this set of distinctions to a descriptive analysis of the auditory dimension. Roughly the first half of his book is given over to such a Husserlian description of the presence of sound. (shrink)

In the phenomenology of the consciousness of internal time, Edmund Husserl has frequent recourse to sound and melody as illustrations of the processes that give rise to immanent temporal objects. In Husserl’s analysis, there is a philosophically pregnant tension between the geometrical diagrams representing multiple dimensions of immanent time and his intuition that time-points might be no more than fictions leading to absurdities. In this paper, I will address this tension in order to motivate a complementarity approach to (...) temporal objects such as sound and melody that might illuminate the phenomenology of sound-consciousness. (shrink)

In this book, his major work, Alfred Schutz attempts to provide a sound philosophical basis for the sociological theories of Max Weber. Using a Husserlian phenomenology, Schutz provides a complete and original analysis of human action and its "intended meaning.".

In this work we present some reflections about the interaction of preschool children (between 3 and 5 years old) with sound-producing objects. We implemented the phenomenological approach of Alfred Schutz, who under the influence of Edmund Husserl, elaborated his own notions concerning the Lebenswelt or life-world. We present some situations of interaction with musical instruments by children that have been documented in different research on musical education in early childhood, the same ones we use to exemplify possible analyses from (...) the perspective of the phenomenology of the social world. We conclude with some remarks that conceive of Schutz’s theory as a relevant perspective for the analysis of children’s experiences with sound-producing objects. (shrink)

In order to promote social distancing during the recent COVID-19 pandemic, physicians and healthcare systems have made efforts to replace in-person with virtual clinic visits when feasible. While these efforts have been well received and seem compatible with sound clinical practice, they do not perfectly replicate the experience of a face-to-face exchange between doctor and patient. This essay attempts to describe features of the virtual visit that distinguish it from its face-to-face analog and considers the phenomenological work of Emmanuel (...) Levinas in arguing that these differences may limit the force of the ethical summons a provider would otherwise experience before the face of a patient. The diminishment of this signal therapeutic experience may engender vocational as well as clinical consequences, which should be weighed against the practical benefits of the virtual visit as we consider whether our enthusiasm for this mode of practice should continue. (shrink)

For the last 20 years or so, philosophers of mind have been using the term ‘qualia’, which is frequently glossed as standing for the “what-it-is-like” of experience. The examples of what-it-is-like that are typically given are feelings of pain or itches, and color and sound sensations. This suggests an identification of the experiential what-it-islike with such states. More recently, philosophers have begun speaking of the “phenomenology“ of experience, which they have also glossed as “what-it-is-like”. Many say, for example, (...) that any acceptable materialism—or any acceptable account of the relation of mind and body—must “respect the phenomenology.”1 Typically, no examples beyond those mentioned in the first paragraph are offered. This suggests that the picture of the phenomenology that ”must be respected” is the what-it-is-like of bodily sensations, of sensations that occur in perception, and perhaps of certain analogous nonperceptual states, such as imaginings and image-like rememberings. According to the suggested picture, all there is to phenomenology is such states; intentional mental states—as such— have no phenomenology; there is nothing that it is like to undergo them. Although beliefs and desires are intentionally directed—i.e., they have aboutness—these mental states allegedly are not inherently phenomenal. On this view, there is nothing that it is like to be.. (shrink)

Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial phenomenology. I defend three proposals. First, audition furnishes one with information about the locations of things and happenings in one’s environment because auditory experience itself has spatial content—auditory experience involves awareness of space. Second, we hear the locations of things and events by or in hearing the locations of their (...) sounds. Third, we auditorily experience sounds themselves as having relatively stable distal locations. I reject skepticism about spatial audition and auditory experience tracing to Strawson’s Individuals , and suggest that spatial auditory experience grounds a form of perceptual access to objects and events that is critical to negotiating one’s environment. (shrink)

The philosophical investigation of consciousness has a long-standing history in both Indian and Western thought. The conceptual models and analyses that have emerged in one cultural framework may be profitably reviewed in the light of another. In this context, a study of the notion of consciousness in the transcendental phenomenology of Edmund Husserl is not only important as a focus on a remarkable achievement in the context of Western thought, but is also useful for an appreciation of the concern (...) with this question in the Indian philosophical tradition, and especially in the tradition of Advaita Vedānta of Ādi Śamkara. The starting point for this paper is the belief that phenomenology has a recognizably common face for both these traditions. This paper investigates the possibility of a parallel notion of consciousness in the transcendental phenomenology of Husserl and the Advaita Vedānta of Śamkara, with particular emphasis on Husserl’s ‘Transcendental I’ and Śamkara’s ‘Witness Consciousness’ (Sākshi Caitanya). In the process, it explores the phenomenological relevance of the concept of consciousness in Indian philosophy, with special reference to the concept of pure consciousness as one of the essential criteria for any sound theory of knowledge. It more importantly highlights the Advaitic understanding of pure consciousness as one of the major contributions to the field of comparative philosophy that forms a vantage point for cross-cultural comparison. While pointing to significant differences in their respective approaches to understanding the nature of consciousness, the exploration finally unveils the common thesis for both Śamkara and Husserl that ‘pure consciousness’ is essentially foundational, evidencing and absolute for any epistemic act. (shrink)

In this article I investigate the ways in which phenomenology could guide our views on the rights and/or wrongs of abortion. To my knowledge very few phenomenologists have directed their attention toward this issue, although quite a few have strived to better understand and articulate the strongly related themes of pregnancy and birth, most often in the context of feminist philosophy. After introducing the ethical and political contemporary debate concerning abortion, I introduce phenomenology in the context of medicine (...) and the way phenomenologists have understood the human body to be lived and experienced by its owner. I then turn to the issue of pregnancy and discuss how the embryo or foetus could appear for us, particularly from the perspective of the pregnant woman, and what such showing up may mean from an ethical perspective. The way medical technology has changed the experience of pregnancy—for the pregnant woman as well as for the father and/or other close ones—is discussed, particularly the implementation of early obstetric ultra-sound screening and blood tests for Down’s syndrome and other medical defects. I conclude the article by suggesting that phenomenology can help us to negotiate an upper time limit for legal abortion and, also, provide ways to determine what embryo–foetus defects to look for and in which cases these should be looked upon as good reasons for performing an abortion. (shrink)

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

The experiences described in the VIP transcripts are incredibly varied and yet frequently explicitly labelled by participants as "voices." How can we make sense of this? If we reflect carefully on uses of the word "voice", we see that it can express at least two entirely different concepts, which pick out categorically different phenomena. One concept picks out a speech sound (e.g. "This synthesizer has a "voice" setting"). Another concept picks out a specific agent (e.g. "I hear two voices: (...) one is a ten year-old boy…"). This chapter explores how these two concepts are related to one another in the context of voice-hearing. (shrink)

Heidegger connected his name with the endeavor of renewing the question regarding Being (Seinsfrage). In BT (1927), he attempted to bring the issue of Being and everything concerning it back to the fore, by investigating the question of what the things themselves (die Sache selbst) are in its case. In this way, he managed to maintain his distance from the inherited and uninterpellated theories and speculations around "Being" (είναι). At the time, he continued to think that the precondition for arriving (...) at the very things themselves was—more or less—the phenomenological method that Husserl introduced in his breakthrough phenomenological opus, the Logical Investigations (1900-01). On this basis, in his "What is Metaphysics?” (1929) (WM). Heidegger explicitly maintained that the truth with regard to the issue of Being could and should be mediated—no matter how paradoxical this may sound—through the question regarding Nothing (Nichts). Parmenides, to be sure, had warned that nothing (μηδέν) is not, for that which is the έόν, and that only with what is can understanding (νοείν) and speaking (λέγειν) be correlated. The possibility of arriving at truths depends on propositions that say “is” with regard to what is, and “is not" with regard to what is not. Heidegger, however, thought that the most important issue for philosophy as ontology (but even for humans as beings engaged in praxis) was Nothing (Nichts)—and, moreover. Nothing as Being! But how could someone conceive of and bring to language these obviously limit subject matters? Haven’t we seen that Logic, following Parmenides' instruction, has progressively burked all talk of Being, and barred all talk about Nothing? (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 notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. In this way, (...) the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound. (shrink)

In the recent literature on the nature of sound, there is an emerging consensus rejection of what might be thought of as the scientifically informed commonsense position: that sounds, whatever else they may be, must be entities that mediate between the source of the sound and the subject hearing it. This paper offers an argument for such "medial" theories of sound. This argument is intended to shift attention from the two considerations that have dominated the debate thus (...) far: the relevant scientific facts about audition and the spatial phenomenology of auditory experience. (shrink)

James Phillips’s _Sternberg and Dietrich: The Phenomenology of Spectacle_ reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894–1969) and the German-American actor Marlene Dietrich (1901–1992). Considered by his contemporaries to be one of the most significant directors of Golden-Age Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the (...) sexual mores of the times, and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg’s direction Paramount’s sound stages became laboratories for novel thought experiments. Analyzing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the “cinematic philosophy” that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamor: Dietrich emerges here as a woman at ease in the world without being at home in it, as both an image of autonomy and the autonomy of the image. (shrink)

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and (...) accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies ; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call. (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, (...) certain common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

There is one character too many in the triad sound, event source, thing source. As there are neither phenomenological nor metaphysical grounds for distinguishing sounds and sound sources, we propose to identify them.

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of (...) this critique. While Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

Can we describe certain sonic experiences as “homely,” even when they take place outside of a traditional home-space? While phenomenological accounts of home abound, with writers detailing a rich spectrum of the felt characteristics of the homely including safety, familiarity, and affective “warmth,” there is a scarcity of research into sonic experience that engages with such literatures. With specific interest in the experience of embodied space, I account here for what might be termed feelings of “sonic homeliness” as they emerge (...) during headphone listening. After forming a conceptual model of homeliness that draws from phenomenological philosophy, I investigate its applicability to experiences of headphone listening. Through analysis of primary interview data, I consider how headphones may be said to territorialize space for listeners, analyzing how sonic “boundaries” are experienced in relation to the body, as well as how some listeners describe their experiences as interiorized, comforting, and “wombic.”. (shrink)

Stevens and the phenomenology of value : philosophical poetry and the demands of modernity -- Harmonium as a modernist text -- Ghostlier demarcations, keener sounds : the parts negation plays in developing a new poetic -- How Stevens uses the grammar of as -- Aspectual thinking -- Stevens' tragic mode : why the angel must disappear in Angel surrounded by paysans -- Aspect-seeing and its implications in The rock.

Can the straight line be analysed mathematically such that it does not fall apart into a set of discrete points, as is usually done but through which its fundamental continuity is lost? And are there objects of pure mathematics that can change through time? Mathematician and philosopher L.E.J. Brouwer argued that the two questions are closely related and that the answer to both is "yes''. To this end he introduced a new kind of object into mathematics, the choice sequence. But (...) other mathematicians and philosophers have been voicing objections to choice sequences from the start. This book aims to provide a sound philosophical basis for Brouwer's choice sequences by subjecting them to a phenomenological critique in the style of the later Husserl. (shrink)

AbSTRACTThis paper is concerned with Foucault's historical methodology. It argues that the coherence of his project lies in its development of a set of tools for unearthing the historical principles that govern thought and practice in the epochs that have shaped the present age. Foucault claimed that these principles are, at once, transcendental and historical. Accordingly, the philosophical soundness of Foucault's project depends on his having developed a satisfactory way of passage between the absolutist purism of the transcendental and the (...) mundane contingency of the historical. The paper shows that the key to seeing how Foucault achieved this desideratum lies in a surprising and largely unexplored methodological tradition that he himself explicitly acknowledged: Husserlian phenomenology as it was taken up, modifed, and practiced in the thought of the philosopher of logic and mathematics, Jean Cavaillès—what I call the phenomenology of the concept.The essay has four parts. The first sketches the two most prominent lines of interpretation of Foucault's methodology and argues that both are inadequate, not least because they both dismiss Foucault's phenomenological heritage. The second part lays out the rudiments of the neglected strand of the phenomenological tradition inaugurated by Cavaillès's important critique and appropriation of Husserlian method. This serves, in turn, to set the stage for the third part that examines, first, Canguilhem's and then Foucault's distinct projects for grasping the transcendental within the historical, and the historical within the transcendental—their respective continuations of Cavaillès's phenomenology of the concept. The essay concludes with a brief consideration of the pathways that this way of reading Foucault opens up for understanding the nexus of power, knowledge, and subjectivation that came to define his work. (shrink)

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the (...) structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for. (shrink)

This collection is the final volume of a four book survey of the state of phenomenology fifty years after the death of Edmund Husserl. Its publication represents a landmark in the comprehensive treatment of contemporary phenomenology in all its vastness and richness. The diversity of the issues raised here is dazzling, but the main themes of Husserl's thought are all either explicitly treated, or else they underlie the ingenious approaches found here. Time, historicity, intentionality, eidos, meaning, possibility/reality, and (...) teleology are the main concerns of this collection devoted to studies in aesthetics, metaphysics and literary interpretation, written by such authors as, among others, R. Cobb-Stevens, C. Moreno Marquez, J. Swiecimski, Sitansu Ray and M. Kronegger. These original studies of phenomenological aesthetics and literary theory by scholars from all parts of the world were gathered by the World Institute for Advanced Phenomenological Research and Learn ing during the year 1988/89 during its assessment of the phenomeno logical movement, fifty years after Husserl's death. IX A -T. Tymieniecka (ed.), Analecta Husserliana, Vol. XXXVII, ix. (shrink)

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is (...) reflection on the originality of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music. (shrink)

This book transforms phenomenology, music, technology, and the cultural arts from within. Gathering contributions by performing artists, media technology designers, nomadic composers, and distinguished musicological scholars, it explores a rich array of concepts such as embodiment, art and technology, mindfulness meditation, time and space in music, self and emptiness, as well as cultural heritage preservation. It does so via close studies on music phenomenology theory, works involving experimental music and technology, and related cultural and historical issues. This book (...) will be of considerable interest to readers from the fields of sound studies, science and technology studies, phenomenology, cultural studies, media studies, and sound art theory. This book is equally relevant and insightful for musicians, composers, media artists, sound artists, technology designers, and curators and arts administrators from the performing and visual arts. (shrink)