The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in (...) the past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

This commentary supports MacNeilage's dismissal of an evolutionary development from sign language to spoken language but presents evidence of a feature in sign language (echo phonology) that links iconic signs to abstract vocal syllables. These data provide an insight into possible mechanism by which iconic manual gestures accompanied by vocalisation could have provided a route for the evolution of spoken language with its characteristically arbitrary form–meaning relationship.

Vocal fry is a phonation, or voicing, in which an individual drops their voice below its natural register and consequently emits a low, growly, creaky tone of voice. Media outlets have widely acknowledged it as a generational vocal style characteristic of millennial women. Critics of vocal fry often claim that it is an exclusively female vocal pattern, and some say that the voicing is so distracting that they cannot understand what is being said under the phonation. (...) Claiming that a phonation is so distracting as to prevent uptake of the semantic content of an utterance associated with it is an extreme reaction, especially when accompanied by demands for women to change their phonation. We argue that this reaction limits women's communicative autonomy. We analyze the extreme reaction to female vocal fry, which we characterize as a non-content-based response, from the perspectives of philosophy of language, feminist epistemology, and linguistics. We argue that when fry is heard as annoying and distracting, it is because the hearer interprets the speaker as echoing an utterance from a position of authority to which she is not entitled. We show that this reaction encodes conscious or unconscious sexist attitudes toward women's voices. (shrink)

The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter “what” she says. We take this fact for granted—for example, every time someone asks, over the telephone, “Who is speaking?” and receives as a reply the familiar utterance, “It’s me.” Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with (...) the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the “devocalization of Logos,” as the invariable privileging of semantike over phone, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a “politics of the voice” wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather who is speaking. (shrink)

The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter "what" she says. We take this fact for granted—for example, every time someone asks, over the telephone, "Who is speaking?" and receives as a reply the familiar utterance, "It's me." Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with (...) the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the "devocalization of Logos," as the invariable privileging of _semantike_ over _phone_, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a "politics of the voice" wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather _who_ is speaking. (shrink)

The aim of this paper is to explore the conditions under which generalisation from single case studies, in the sense of making inferences concerning a wider class of phenomena beyond a case, is reasonable. Two sets of conditions, in particular, provide the basis for our consideration of this issue. The first is an exploration of the impressive amount of empirical knowledge that is contained within the theories that are used to make observations, to classify phenomena, and to understand and interpret (...) cases. The second is recognition of the role of a pattern of inference known as abduction, or inference to the best explanation, in drawing conclusions from case studies. It is argued that these two conditions, when applied to the procedures for conducting case studies, can be used to defend, as reasonable, the making of certain provisional generalisations from single cases. An epistemological procedure for testing and further justifying these generalisations, with a particular emphasis on dealing with the problem of confirmation bias, is then discussed and recommended. (shrink)

According to the Interface Hypothesis in the field of bilingualism, the interface connecting a linguistic module with a language-external domain will present prolonged difficulties for adult bilingual learners, as compared with the interface connecting language-internal modules. This study tested whether the Interface Hypothesis is applicable to the acquisition of Mandarin Chinese as a heritage language. An internet-based acceptability judgment task was administered to 58 advanced and intermediate adult Chinese heritage speakers to collect data in accuracy and reaction time to investigate (...) the adult heritage speakers’ mastery of referential nominal expressions regulated at the syntax-semantics and syntax-discourse interfaces, respectively, in Mandarin Chinese. The target linguistic phenomena involved three nominal expressions, the [Cl-N], and the [Num-Cl-N]) under four interface-regulated referential readings. In terms of accuracy, the results showed that for the N and the [Num-Cl-N], regardless of the interface type, the advanced group acquired the target phenomena to a nativelike level, who significantly outperformed the intermediate group; for the [Cl-N], the advanced group exhibited nativelike attainment at the syntax-discourse interface but not at the syntax-semantics interface, and performed significantly better than the intermediate group at both interfaces. Regarding reaction time, no significant differences were reported between the advanced group and the native group for the target structures at either the syntax-semantics or the syntax-discourse interface, while the advanced group performed significantly better than the intermediate group, regardless of the interface type and the structure type. The findings suggest that the nature of the language interface, i.e., whether it pertains to language-external domains or not, should not be a reliable factor for predicting the possibility of nativelike attainment of bilingual grammar knowledge, contra the predictions of the Interface Hypothesis. The present study provides new empirical evidence to show that language-external interface properties are not necessarily destined for prolonged difficulties in heritage language acquisition, and that it is possible for adult heritage speakers to make developmental progress in both accuracy and processing efficiency at different types of interfaces. (shrink)

Cetaceans show high cognitive abilities and strong social bonds. Their primary sensory modality to communicate and sense the environment is acoustics. Research on their echolocation and social vocalizations typically uses visual and tactile systems adapted from research on primates or birds. Such research would benefit from a purely acoustic communication system to better match their natural capabilities. We argue that a full duplex system, in which signals can flow in both directions simultaneously is essential for communication research. We designed and (...) implemented a full duplex system to acoustically interact with cetaceans in the wild, featuring digital echo-suppression. We pilot tested the system in Arctic Norway and achieved an echo suppression of 18 dB. We discuss the limiting factors and how to improve the echo suppression further. The system enabled vocal interaction with the underwater acoustic scene by allowing experimenters to listen while producing sounds. We describe our motivations, then present our pilot deployment and give examples of initial explorative attempts to vocally interact with wild orcas and humpback whales. (shrink)

Why do humpback whales sing? This paper considers the hypothesis that humpback whales may use song for long range sonar. Given the vocal and social behavior of humpback whales, in several cases it is not apparent how they monitor the movements of distant whales or prey concentrations. Unless distant animals produce sounds, humpback whales are unlikely to be aware of their presence or actions. Some field observations are strongly suggestive of the use of song as sonar. Humpback whales sometimes (...) stop singing and then rapidly approach distant whales in cases where sound production by those whales is not apparent, and singers sometimes alternately sing and swim while attempting to intercept another whale that is swimming evasively. In the evolutionary development of modern cetaceans, perceptual mechanisms have shifted from reliance on visual scanning to the active generation and monitoring of echoes. It is hypothesized that as the size and distance of relevant events increased, humpback whales developed adaptive specializations for long-distance echolocation. Differences between use of songs by humpback whales and use of sonar by other echolocating species are discussed, as are similarities between bat echolocation and singing by humpback whales. Singing humpback whales are known to emit sounds intense enough to generate echoes at long ranges, and to flexibly control the timing and qualities of produced sounds. The major problem for the hypothesis is the lack of recordings of echoes from other whales arriving at singers immediately before they initiate actions related to those whales. An earlier model of echoic processing by singing humpback whales is here revised to incorporate recent discoveries. According to the revised model, both direct echoes from targets and modulations in song-generated reverberation can provide singers with information that can help them make decisions about future actions related to mating, traveling, and foraging. The model identifies acoustic and structural features produced by singing humpback whales that may facilitate a singer’s ability to interpret changes in echoic scenes and suggests that interactive signal coordination by singing whales may help them to avoid mutual interference. Specific, testable predictions of the model are presented. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Sharing BreathJody Sperling (bio)My work as choreographer dwells on the inseparability between breath and atmosphere. There are no firm boundaries between the air we breathe in, the air surrounding us, and the air enveloping the planet. This is as true for air as it is for water—there is only one global ocean, although by convention we divide the seas into named regions. When you move through the ocean (...) of air enveloping you, you displace it and create dynamic unseen wakes in your midst.Beginning with my dance, "Turbulence" (2011),1 I sought to visualize such patterns of air disturbance into kinetic sculptural forms. To do so, the six dancers deployed Loie Fuller-style costumes, disquieting the air and materializing its gyrations. An early innovator of performance technology, Fuller danced in robes fashioned from hundreds of yards of silk with embedded wands that extended her body's motion into space. Serendipitously introduced to Fuller's work in 1997, I became seduced by the genre for the way it imbues the doer with an expanded sense of self. Whirling in the Fuller-style garments, I felt, and still feel, integrated into the atmosphere as an eddy or gust.With "Wind Rose" (2019),2 a collaboration with composer Matthew Burtner, I focused on making the connections between breath and wind palpable. Wind is said to be the breath of the planet, a driver of earthly life. A windrose is a meteorological tool that graphically represents wind speed, direction and variability at a particular time and place. I thought, what if I designed choreography with the intention not to create human motion, but in order to create a windrose—an atmospheric snapshot—in the performing space? At the start of "Wind Rose," the five dancers stand shoulder to shoulder and circle the stage so as to forge a human turbine. As the dancers accelerate their cyclonic motion, they push a swelling air wave towards the audience.For another section, I choreographed eight motions, each of which was connected with a sound. The sounds were made either by the dancers whipping their Fuller-style costumes through the air or by the dancers' breathy vocalizations. Matthew took my eight sound-breath-moves and composed a fugue. The dancers perform this music-motion score so that [End Page 155] they stir up a breeze pattern—a fugue that can be felt, as well as seen and heard.Wind has been changing along with climate. Locally, winds are becoming more chaotic. Globally, the high winds are slowing down and the polar jet stream is becoming wonky. But we are not in the habit of listening to the changing winds. One of the root causes of climate inaction has been a deep disconnect between people and their atmosphere. Many among the privileged live out their lives in climate-controlled habitats. Recently, though, even wealthy nations and the elite are starting to feel the heat. These days, no matter how deeply you bury your head in the sand, your butt will still get scorched.As a way of grappling with life in the Anthropocene, I have been formulating an open inquiry called ecokinetics. I conceived ecokinetics as a choreographic corollary to ecoacoustics, an environmental mode of music composition pioneered by Matthew Burtner, my long-time musical collaborator. According to Matthew, "ecoacoustics embeds environmental systems into musical and performance structures using new technologies" (Burtner). Ecokinetics asks, how can we relate human movement to environmental systems? How can choreography (aesthetically patterned human motion) illuminate, echo, expand upon the movement vectors present at a site and help us better understand local ecologies? How can dance entwine with media technologies to embody the processes of natural systems? Ecokinetics is part personal movement practice, part pedagogical tool, and part performance methodology.In its essence, ecokinetics repudiates the separation of humans from nature, a pervasive Colonialist mindset that needs constant undoing. In order to make progress on climate change, we must feel—truly and deeply—that we are part of the planet and not apart from it. This is the opposite of what the billionaires' space club aims to accomplish. Bezos, Branson, and Musk, et al. view distance from Earth as a... (shrink)

continent. 1.1 (2011): 60-67. At the beginning of Martin Heidegger’s lecture “Time and Being,” presented to the University of Freiburg in 1962, he cautions against, it would seem, the requirement that philosophy make sense, or be necessarily responsible (Stambaugh, 1972). At that time Heidegger's project focused on thinking as thinking and in order to elucidate his ideas he drew comparisons between his project and two paintings by Paul Klee as well with a poem by Georg Trakl. In front of Klee's (...) Saints from the Window and Death of Fire —though we wouldn’t absolutely understand what we were seeing—he writes, “we should want to stand…a long while.” In a similar manner, of Trakl’s poem “Septet of Death”—although it is likely we are unsure in what we hear—Heidegger states that, “we should want to hear…[it] often.” Heidegger further states that in appreciating these, “we “should abandon any claim that [they] be immediately intelligible” (1). So also we must we approach, Heidegger continues, the realm of theoretical physics, in which the difficult work of Werner Heisenberg, be listened to “without protest” and without “any claim that he be immediately understood.” These works, like his own project, merit the time they take to be originally (mis)understood. But this is not necessarily true for philosophy, Heidegger advises, because, “That thinking is supposed to offer ‘worldly wisdom’ and perhaps even a ‘way to a blessed life’” (1). Philosophy is in the unique position of being both abstract (what do we talk about when we talk?) and at the same moment, useful. There are demands that it make sense, that it be, grounded, immediate, and most importantly, rational. Heidegger draws these comparisons between the works of Klee and Trakl and Heisenberg not to claim that philosophy is totally irresponsible. He does not claim that the poet, the painter, nor the physicist have acted irresponsibly. Rather, he would say, they are rising to the highest levels of intelligibility, though it is perhaps an intelligibility that is commonly unavailable to us. In Trakl’s case, as we shall see, mastery is the end result of difficult words. Instead, Heidegger seems be making pleas: for a period of uninterrupted unintelligibility (pure unintelligibility); and that there is a time (that time is now) when, “thinking is…placed in a position which demands of it reflections that are far removed from any useful, practical wisdom” (1-2). Heidegger argues that philosophy requires a period of time in which, instead of focusing on the practical—or even on the worldly—the discipline draw its “determination” instead from the place of painting and poetry and physics. In doing so, “we should have to abandon any claims to immediate intelligibility” (2). But Heidegger doesn’t offer this as a way out. We still have to turn up, we “still have to listen, because we must think what is inevitable, but preliminary” (2). The point for Heidegger, is not to listen to a series of propositions, but instead to “follow the movement of showing” (2). I. … Maybe we're here only to say: house, bridge, well, gate, jug, olive tree, window— at most: pillar, tower … but to say them, remember, oh, to say them in a way that the things themselves never dreamed of existing so intensely.… Rainer Maria Rilke, “The Ninth Elegy” There is little more fundamental, preliminary, in the world than language. We use language, in the form of speech, constantly, whether we are saying anything or not. “Man speaks,” Heidegger writes, and goes on to describe in his essay “Language” (2001) the constant speaking that we do. “We are always speaking, even when we do not utter a single word aloud, but merely listen or read, and even when we are not particularly speaking or listening but are attending to some work or taking a rest” (187). Speaking is expression, an utterance of something internal. It is a recognition of a world. It is a way of communicating thought and it is an activity that we all do, inevitably. Speaking separates the human from the animal world, and despite advances in primatology that seek to give ‘voice’ to primates and other non-human animals, it can safely be said that our form of communication—what we call speech and know as language—is the most advanced, the most complicated. We use it to present and represent the world around us; through actual utterances (vocalization) or through the written word or through ‘unvoiced thoughts’ and dreams. We use language, but more specifically speech—naming—to transmit moods, thoughts, desires, aversions, and feelings. These expressions, mere utterances, nearly always find a source in words, whether spoken or not. Heidegger writes that this common view of language means “that only speech enables man to be the living being he is as man. It is as the one who speaks that man is—man” (187). Speaking then—utterance—surrounds us constantly, whether in the form of careful thought—in the form of an academic paper, say—or in the half mutterings and forgotten thoughts of a nearly remembered dream. Like scaffolding, the apparatus of speech sustains and explains the world, making, in a sense, the world rational, making it apparent. When we speak, we describe, and in doing so, name the world. We use words, through this process of naming, to interpret and sustain the world we see, and the world we imagine. Like Rilke’s naming of jug, and bridge, and window, and stream, we describe—and inscribe upon—the world through an activity of naming. Are we here, perhaps, to name? Is it possible not to name? Is it possible to regard and to view and to look around without naming what we see? Is it possible to feel—to experience—world without giving utterance to that feeling, that process? Sadness, grief, joy, ecstasy, hunger, thirst. Desk, light, room, pen, book, world. White, black, tomorrow, today. Each of these words is a name given to a thing I see in front of me, or a concept that I imagine (in the case of tomorrow or world). What arises in my mind has already existed. If I imagine it, it is named. The word for ‘tomorrow’ and ‘desk’ and ‘light’ precedes me, and precedes my concept of it. The idea of it is already pre-informed, and I must, in a certain sense, bend my ideas to it. When I imagine a table, I imagine my own table (or I imagine an idea of table) but that imagining must follow certain general rules; while, perhaps, it might not always require four legs and a horizontal surface, it must, at least not be, say, a pool of water, or a pile of excrement. It must have some tableness to it to be a table. It must, with Heidegger, table. Otherwise, speech is reduced to gibberish. For Heidegger however, the discussion of language points to something deeper than its “scientific and analytic” study as a communicative device. Indeed, Heidegger seeks to understand language not in reference to man or woman, not as an utterance of humanity, but in reference to itself. In doing so he abandons the conversation—that is, he casts away the traditional arguments surrounding philosophy of language; that it is a means of expression; that it is a human activity; and that it is somehow a representation of something that is—in order to seek to understand language as language, on its own terms. Heidegger is not a philosopher of language, but a philosopher of world, of being. Despite these “correct ideas” holding sway “over the whole field of the varied scientific perspectives on language…they ignore completely the oldest natural cast of language” (191). What is this “oldest natural cast of language? It is the act of language itself. Language is language and language speaks. “Most often,” Heidegger writes, “and too often, we encounter what is spoken only as the residue of a speaking long past” (195). Speech, as we normally encounter it, is like Echo herself calling out to Narcissus, doomed to repeat what has already been said, a mere remnant of what was once language, a trace left behind in the gathering silence of becoming. In both the essay “Language” and in his three lecture course “The Nature of Language” (1982), Heidegger attempts to unpack the seeming tautology of language as language. In each, he focuses on poetry as a way out, or into, a true discussion of the oldest natural cast of language. Poetry is pure speech. In poetry, language is brought to language and language speaks ( Die Sprach spricht ). In the act of poetry, the act of pure speech, the poet names (on the surface not different from how I name this table, this computer) but in the poet naming, the naming does not “hand out titles,” “apply terms,” but rather the naming is a call, a calling forth of entities that bring them into their own, allow them to take their place purely, without compromise. This calling, Heidegger (2001) states, “here calls into a nearness. But even so the call does not wrest what it calls away from the remoteness, in which it is kept by the calling there. The calling calls into itself and therefor always here and there—here into presence, there into absence” (196). II. Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid. Wandering ones, more than a few, Come to the door on darksome courses. Golden blooms the tree of graces Drawing up the earth’s cool dew. Wanderer quietly steps within; Pain has turned the threshold to stone. There lie, in limpid brightness shown, Upon the table bread and wine. Georg Trakl “A Winter Evening” Heidegger is often given short shrift as an abysmally difficult writer, as one that makes no sense and is needlessly difficult. In doing this though, we forget sometimes his eloquence, his simple beauty in writing. Of the above opening stanza, “Window with falling snow is arrayed/ Long tolls the vesper bell.” he writes (2001), This speaking names the snow that soundlessly strikes the window late in the waning day, while the vesper bell rings. In such a snowfall, everything lasts longer. Therefore the vesper bell, which daily rings for a strictly fixed time, tolls long. The speaking names the winter evening time (197). The speaking names the winter evening time. It is almost impossible to comment on that one line by Heidegger. It is as though it must exist on its own completely, without elucidation—as though in front of it we must stand as we do in front of a painting by Klee, that is, we must abandon any claim . Silent and devoted. The speaking of the poem here is not clearly different from common speech ( rede ) yet there is, via Heidegger, an invitation to experience that auracular quality of light and stillness that a gentle, dusk tinged snowfall gives; words evoking a quality so clear, so poignant that, in a sense, Heidegger’s work, at this moment, has been done. But what does this naming accomplish? What does the call call? Remember, it is not the poet that calls, but the naming which calls. The poet has only brought the words forward; it is now the words— snow, vesper bell, window— that take new life in the pure language of the poem. Entities are called forth into presence, like the speaking that names the winter evening time. Not to be present amongst us now, however; naming ‘table’ in the poem does not place it in front of us in this room. Rather, the naming places entities into a gathering which is also a sheltering. The naming brings them to be. In an act of appropriation, things come to be purely as their own, unimpeded by a predetermined expectation. They are called to themselves into an arrival. In Being and Time (1962), Heidegger famously describes the movement between present-at-hand and ready-to-hand in his analysis of the hammer, and of equipment in general. This analysis is already known, if not always clear, to most readers of Heidegger. Briefly, a hammer is ordinarily zuhanden or ready-to-hand; it is part of the background of the world, equipment used and never thought about, like this desk, this sheet of paper, this room. Our interaction with it is temporary and it is historically different for each entity and each relation. We need a hammer, we use a hammer. If all goes according to plan, the hammer remains ready-to-hand; it remains, in a sense, undisclosed and certainly unobtrusive. Our world is undisturbed by the hammer. Only when the hammer or the car or the computer is broken (or sometimes unused or unrecognized or missing) does it intrude into our world, become conspicuous as an object present-at-hand, or vorhanden . In this case, we reach for the hammer, it is broken and we suddenly notice it’s being, broken though it is. The thing which was always ready to hand—handy—is suddenly abstract, something to be examined, if only in its absence or disfunction. This can be exhibited for all entities, and it is important to note that in this analysis the zuhanden / vorhanden split is not restricted to a specific form of constructed material; zuhanden does not refer to the car, and vorhanden the sunset. No entity is ever exclusively ready-to-hand or present-at-hand; they are instead, interpenetrated with each others mode of being, one informing the other in a way that both brings things forth into the world—discloses is the word Heidegger chooses—and at the same time conceals them. As one mode is coming to be so another mode is withdrawing. This flux and movement between modes is precisely what brings the world forward, and what makes it manifest. It exists beyond where we tread and before man took dubious control of the world. We go to find a book or turn on the computer and it is missing or broken and we become aware of the object, as though for the first time. We walk to the water to glimpse the sunset and miss it, or it is less than stellar; in the sunset’s grayness, we become aware of it’s being sunset. The thing is disclosed in its withdrawal. Echoing Heraclitus, we can say that as something is coming to be, it is already becoming something other. Of similar importance to the fact that things are never all of one, or all of the other, they are also never alone. The hammer is never a single object, but is in relation always to the whole. Heidegger (1962) states, Equipment—in accordance with its equipmentality—always is in terms of its belonging to other equipment: ink-stand, pen, ink, paper, blotting pad, table, lamp, furniture, windows, doors, room. These ‘Things’ never show themselves proximally as they are for themselves…What we encounter as closest to us…is the room; and we encounter it not as something ‘between four walls’ in a geometrical, spatial sense, but as equipment for residing…it is in this that any ‘individual’ item of equipment shows itself. Before its does so, a totality of equipment has already been discovered (97). Equipment resides—dwells—in its relations, in its proximal being to other beings. Within the structure of totality, a series of relations is always occurring. The hammer is on the workbench in the carpenter’s hand in the workshop in the village under the sky and under the sun. It doesn’t stop there. Equipment surrounds us and the focus is not on what it does, or what one does with it—the carpenter with the hammer, the writer with laptop—but with the fact that it is. Equipment occurs in relation and is always occurring around us overhead, underfoot, by the stream and in the city. There is a constant exchange of relations happening, and as this occurs, so the world occurs, so the world both discloses and withdraws, into and out of itself. In a very real sense, language is also equipment. It is the thing that we use most often without thought, it is ready-to-hand (except when it’s not.) As we re- cognize the world around us, as we offer names for things and make lists, we are using language much like we might use a hammer, that is, bluntly. Most of the time it is invisible and we draw on it without wondering how we are going to say something. When language does intrude, it does so in an awkward moment, that moment when we can’t remember the right word, when we forget a phrase. At that second, it “speaks itself as language,” it reveals itself as malfunctioning equipment, and we “undergo” an experience with language, in Heidegger’s famous formulation. Language is not a tool anymore that we use to bludgeon an object, but something instead that we submit to, that we experience. In “The Nature of Language,” Heidegger (1982) writes, But when does language speak to us as language? Curiously enough, when we cannot find the right word for something that concerns us, carries us away, oppresses or encourages us. Then we leave unspoken what we have in mind and, without rightly giving it a thought, undergo moments in which language itself has distantly and fleetingly touched us with its essential being (59). The poet’s words become themselves, become appropriate, only when they no longer function in the prosaic world; they instead intrude as they come to be. Language itself brings itself to language. Names, like the entities they indicate, are always becoming something else. As noted above, language, through the poet, has brought forth entities from words previously “known.” I thought that I knew snow, but through Trakl’s re- presentation of the word, language calls forth a new image of snow, indeed calls forth snow itself. The vesper bell tolls longer, the table is for many laid. In bringing forth things , language has brought the world to presence. In everyday naming, word occludes world, preventing, in its everydayness, its coming forth, its disclosing. But what is this world that word has been brought forth into? In the same way that language speaks, world worlds. World, left alone, un-interfered with, comes into itself. It worlds. Again, this sounds like a tautology, but it is essential to Heidegger’s thought (and in my mind is more of a “god killer” than Nietzsche.) One of the most overlooked (and under-appreciated) aspects of Heidegger is his later examination and enthusiasm for the “fourfold,” or the system through which things come to be, through which things thing in a world worlding. The fourfold is the interaction of earth and sky, mortals and gods. Things come to be in the interstices and gathering of the fourfold. The fourfold provides both a place of being, and a sheltering, a place to dwell. Heidegger writes that “the things that were named, thus called, gather to themselves sky and earth, mortals and divinities. The four are united primally in being toward one another, a fourfold.” The poet has called, through the act of pure naming, things to come forth. In the purity of the fourfold—that is, when that is all that there is, when there are no other distractions, definitions, things—entities themselves can come to be. It is important to note that Heidegger is not saying that there are four formal things in the world, autonomous entities unto themselves. He is not evoking a pre-Socratic formula as to what makes up the world; instead, the four mirror each other constantly. (Heidegger calls this the ‘mirror-play.’) They interpenetrate in the same way that the modes of being of things interpenetrate themselves. There is no discrete exclusivity in being or the fourfold. What makes up things is not a precise recipe of the four main components; what makes up things is the action of the fourfold coming together, the movement of the fourfold which is a becoming. Heidegger (2001) writes that “this gathering, assembling, letting stay is the thinging of things.” And he later adds that “thinging, things are things. Thinging, they gesture—gestate—world” (197). Language brings the world to be. It works not again as a recipe added to things, but instead it is a bridge, or more precisely, a relation. Language relates world to thing, brings world to thing. In a sense, it does not say anything; rather it allows, or calls in its movement. Heidegger (2001) writes that, The intimacy of world and thing is not a fusion. Intimacy obtains only where the intimate—world and thing—divides itself cleanly and remains separated. In the midst of the two, in the between of world and thing, in their inter, division prevails: a dif-ference (199). It is in this inter that language prevails. Language is difference, it is the differential aspect between world and thing that brings world to thing. In the final stanza of Trakl’s poem “The Winter Evening,” Trakl evokes this difference in the second line when he writes, “Pain has turned the threshold to stone.” Christopher Fynsk, in his essay “Noise at the Threshold,” draws attention to this point when he writes “it is the figure of the threshold that is language itself, inasmuch as language is defined as the articulation of difference by which difference comes about” (25). Language, as used in the pure language of the poem, draws together world and thing, bridging relation between entity and world. The calling of language calls world to thing, world to being. Heidegger (2001) describes this difference as unique; “of itself, it holds apart the middle in and through which world and things are at one with each other” (200). III. Neither reading nor writing, nor speaking—and yet it is by those paths that we escape what has been said already, and knowledge, and reciprocity, and enter the unknown space, the space of distress where what is given is perhaps not received by anyone (99). Maurice Blanchot The Writing of Disaster So far, we have allowed Heidegger to put forward what language does, how it functions as a relation and how it operates as a threshold, as a bridge. What interests me is what happens beyond language, beyond the relation. What happens to the thing without the naming, without the poet, or even without the everyday chatter—Fynsk calls this ‘noise’—intruding on being? If language allows things to become by bringing thing to world, what happens when we remove this bringing, this threshold turned to pain? In “The Nature of Language,” Heidegger examines the work of the poet Stefan George, specifically “The Word”: Wonder or dream from distant land I carried to my county’s strand And waited till the twilight norn Had found the name within her bourn— Then I could grasp it close and strong It blooms and shines now the front along… Once I returned from happy sail, I had a prize so rich and frail, She sought for long and tidings told: “No like of these depths unfold.” And straight it vanished from my hand, The treasure never graced my land… So I renounced and sadly see: Where word breaks off no thing may be. That final line, “Where word breaks off no thing may be” is evoked on nearly every page of Heidegger’s essay. It is the line to which he returns over and over and bears repeating. Where word breaks off no thing may be. Where naming ends, no thing. We can interpret this in two ways (at least.) Where word—naming—breaks off, then there is nothing . Or, as I choose to read it, where word breaks off no thing may be. In this I see a hint forward, a marker left behind by Heidegger. What could this look like? What does no thing look like? Like a zen koan ( there is no mirror ) it is as thrilling and horrifying as contemplating what preceded the Big Bang. Because language as naming wasn’t always here; we weren’t always here. One or maybe two aspects of the fourfold (depending on your view of gods) were not always here, and there is no guarantee that we will always be around. What then? Heidegger (1982) describes the landscape that the poet finds, “It names the realm into which the renunciation must enter: it names the call to enter into that relation between thing and word which has now been experienced” (65). The poet, in renouncing, allows for the “may be” of “where word breaks off no thing may be.” This “may be” becomes “a kind of imperative, a command which the poet follows, to keep it from then on.” No thing is lacking. Where word breaks off, there may be, a totality, a completion. If we place the emphasis on may be , we make it affirmative, make it positive. One allows it. No thing is where the word, that is the name, is lacking. If we remove then (if we can remove) the word, the name, than that is where no thing is, that is where no thing may blossom, enrich, belong, become. What is no thing? Heidegger writes that “thing is anything that in any way is.” And just after this he writes that the “world alone gives being to the thing.” But what happens if there is no word? Word, in this formulation can be seen as an enframing, a challenging of language. By naming, by drawing a perimeter around an object, we hold it, by its definition (that is a brick) to an ordered future. If we borrow from Heidegger’s essay “The Question Concerning Technology” (1993) the idea of this standing-reserve of an ordered future, we see that “everywhere everything is ordered to stand by, to be immediately on hand, indeed to stand there just so that it may be on call for a further ordering” (322). What happens if there is no naming of the thing? Silence perhaps. Stillness. We can name—and do name—that which we know. We equate knowledge with knowing the name of something. A brick is a brick, a hammer is a hammer, the universe is the universe. By naming a thing, we create, and draw its parameters, the parameters of the thing, not as thing thinging in the fourfold, but as blunt object apparent. In the four dimensions relatively available to us, we observe (and name) that the brick takes up possibly six by four by two inches and is, in the sense that it currently occupies this time slot. It fulfills its destiny, its being, its brickness, it bricks . But what happens when we remove the name for this brick. We no longer know what to call this no-thing (if indeed we can even arrive at the point of uncalled calling.) In fact the it (this brick) is no longer a thing in the sense that by not naming—by removing the name—it still occupies the same dimension but is indiscernible from the world. It simply is , un-reliant, un- needed by me. By removing the subject (me) from it (the brick) do I not then also remove the object—or at least the duality objectifying it? Why is this important? Why does this matter? I have not really removed anything. I have not changed any thing , per se . The brick still occupies the same space in geographic and temporal dimensions. I have literally not even touched the brick sitting on my desk. But what I have done is removed the name, removed the word (the bridge, according to Heidegger) and in this (again, if this is even possible) there is something vertiginously liberating, not only for me (and my way of thinking) but also for the brick itself. Like the poet who calls the thing forward, by refusing to name, by avoiding any thing that demands me to name it, I release the thing into the fourfold. I am no longer challenging the thing to be there for me ; I do not en frame it through language. Rather I, in an act of extreme responsibility, am refusing the challenge. By refusing the name (refusing to name) one allows, (or no one allows no thing) the brick to be all things , to manifest its manifold being, to incorporate all things into its thinging . It becomes, quite literally, every thing . Because, in its infinite manifestness, it incorporates everything; the mud that gave it its current being, the water that formed the mud, the sun, the stars, the universe and it also allows it to become mud again, to become landfill, to become again, water and sun and stars and universe in an endless, infinite cycle of coming to be some thing (else). Perhaps this is what Heidegger is suggesting when he talks about the stillness at the end of his essay, “Language” (2001): The dif-ference stills particularly in two ways: it stills the things in thinging and the world in worlding. Thus stilled, thing and world never escape from the dif-ference. Rather, they rescue it in the stilling, where the dif-ference is itself the stillness (206). It is in this stillness that I can imagine a gellasenheit (here I mean both “releasement in the Heideggarean sense, as well as Meister Eckhart’s use of the term meaning “letting the world go and giving oneself to God”) of thing and world, a releasing into the stillness and silence of no thing beyond where word breaks off. It is here where I may no longer be, and yet no thing is, but may be. (shrink)

L’évolution industrielle nous destine à vivre dans des environnements technologiques caractérisés par une dissémination informatique totale dans la multitude et d’objets connectés capables de traitement sémantique et d’interaction informationnelle avec les humains. Dans ce contexte d’Intelligence ambiante se déploient des dispositifs domotiques d’Interactions dites naturelles Homme / machine. Ainsi de Google Home présenté comme : « une enceinte à commande vocale qui fonctionne avec l'Assistant Google ». On pourra tout aussi bien discuter avec les agents de la concurrence : Amazon (...) Echo, Apple HomePod, etc. Ces dispositifs nous conduisent à interroger une étape contemporaine majeure de « la révolution technologique du langage » et de son automatisation, qui fait des machines de réels sujets parlants, inscrits dans un « couplage humano-machinique ». Dans ce contexte fortement marqué par les affordances, nous observons les modalités de cette interaction artéfactuelle et dite naturelle, caractérisée notamment par une simulation conversationnelle et une personnalisation des dispositifs technologiques. La perspective est celle d’une linguistique post-dualiste et non logocentrée, dans la lignée du courant de l’analyse du discours : Texte-Discours-Interaction. (shrink)

Recent conversation has blurred two very different social epistemic phenomena: echo chambers and epistemic bubbles. Members of epistemic bubbles merely lack exposure to relevant information and arguments. Members of echo chambers, on the other hand, have been brought to systematically distrust all outside sources. In epistemic bubbles, other voices are not heard; in echo chambers, other voices are actively undermined. It is crucial to keep these phenomena distinct. First, echo chambers can explain the post-truth phenomena in (...) a way that epistemic bubbles cannot. Second, each type of structure requires a distinct intervention. Mere exposure to evidence can shatter an epistemic bubble, but may actually reinforce an echo chamber. Finally, echo chambers are much harder to escape. Once in their grip, an agent may act with epistemic virtue, but social context will pervert those actions. Escape from an echo chamber may require a radical rebooting of one's belief system. (shrink)

Public support for responses to the coronavirus pandemic has sharply diverged on partisan lines in many countries, with conservatives tending to oppose lockdowns, social distancing, mask mandates and vaccines, and liberals far more supportive. This polarization may arise from the way in which the attitudes of each side is echoed back to them, especially on social media. In this paper, I argue that echo chambers are not to blame for this polarization, even if they are causally responsible for it. (...) They are not to blame, because belief calibration in an echo chamber is a rational process; moreover, the epistemically constitutive properties of echo chambers are not optional for epistemically social animals like us. There is no special problem of echo chambers; rather, there is a problem of misleading evidence (especially higher-order evidence). Accordingly, we ought to respond to misinformation about COVID neither by attempting to dismantle echo chambers nor by attempting to make people more rational, but rather by attempting to supplant unreliable higher-order evidence with better evidence. (shrink)

There exists substantial cultural variation in how emotions are expressed, but there is also considerable evidence for universal properties in facial and vocal affective expressions. This is the first empirical effort examining the perception of vocal emotional expressions across cultures with little common exposure to sources of emotion stimuli, such as mass media. Shuar hunter-horticulturalists from Amazonian Ecuador were able to reliably identify happy, angry, fearful and sad vocalizations produced by American native English speakers by matching emotional spoken (...) utterances to emotional expressions portrayed in pictured faces. The Shuar performed similarly to English speakers who heard the same utterances in a content-filtered condition. These data support the hypothesis that vocal emotional expressions of basic affective categories manifest themselves in similar ways across quite disparate cultures. (shrink)

In this paper, I argue that echo chambers pose a problem for moral progress because of their threat to moral reasoning. I argue for two theses about the epistemology of moral progress: (1) the practical utility thesis: moral reasoning plays an important role in improving moral judgments, and (2) the conflictive social reasoning thesis: the kind of moral reasoning that is important for moral progress involves social reasoning with disputants. Without some conflict, human beings will naturally reason in a (...) biased and otherwise poor manner. Thus, good reasoning must be social so that reasoners who disagree can keep each other in check. These two theses explain why echo chambers are a problem for moral progress. I argue that echo chambers isolate individuals from reasoning with those they disagree with. This is because echo chambers act as a mechanism for discrediting those outside the chamber. If this is true, then the members of an echo chamber will only reason with those who agree with them. The result is that echo chamber members won't reason according to the conflictive social reasoning thesis. Reasoning will only reinforce their existing echoed beliefs rather than improve them. (shrink)

Modeling of evolution and development of language has principally utilized mature units of spoken language, phonemes and words, as both targets and inputs. This approach cannot address the earliest phases of development because young infants are unable to produce such language features. We argue that units of early vocal development—protophones and their primitive illocutionary/perlocutionary forces—should be targeted in evolutionary modeling because they suggest likely units of hominin vocalization/communication shortly after the split from the chimpanzee/bonobo lineage, and because early development (...) of spontaneous vocal capability is a logically necessary step toward vocal language, a root capability without which other crucial steps toward vocal language capability are impossible. Modeling of language evolution/development must account for dynamic change in early communicative units of form/function across time. We argue for interactive contributions of sender/infants and receiver/caregivers in a feedback loop involving both development and evolution and propose to begin computational modeling at the hominin break from the primate communicative background. (shrink)

My aim in this paper is to engage with C. Thi Nguyen’s characterization of the echo chamber and to propose two things. First, I argue that a proper reading of his concept of echo chamber should make use of the notion of ignorance in the form of a structural epistemic insensitivity. My main contention is that ignorance as a substantive structural practice accounts for the epistemically deleterious effects of echo chambers. Second, I propose that from the talk (...) of ignorance we should be able to see echo chambers in terms of their more harmful impacts in our daily lives. To do that, I argue that we should think of echo chambers as tools to promote hermeneutical domination. If my representation of Nguyen’s concept is accurate, I believe we can see some important theoretical consequences stemming from the way Nguyen understands it. (shrink)

Feminist theory has produced a robust literature on embodiment that explores phenomena such as maternity, mobility, ability, and aging. However, the field has produced surprisingly few analyses of the bodily phenomenon of voice; references to voice in the context of critical theory are almost entirely metaphorical in nature, a relegation that obscures the philosophical relevance of voice as embodied phenomenon. Using insights garnered from the fields of sound studies and musicology, I argue that contemporary feminist theory should address the social, (...) political, and ethical meanings of the bodily, material phenomenon of vocality. Specifically, I argue that vocality is better understood as intervocality, that it is an existentially significant aspect of identity, and that it is implicated in systematic inequality and social relations in meaningful ways. I critique Adriana Cavarero’s approach to vocal justice, demonstrating that it does not sufficiently take up the challenges of intervocality. The article concludes with some preliminary remarks regarding a conceptualization of vocal justice. (shrink)

Following Cass Sunstein's popular treatment of the concept, echo chambers are often defined as environments which exclude contrary opinions through omission. C. Thi Nguyen contests the popular usage and defines echo chambers in terms of in-group trust and out-group distrust. In this paper, I argue for a more comprehensive treatment. While both exclusion by omission and out-group distrust help sustain echo chambers, neither defines the phenomenon. I develop a social network model of echo chambers which focuses (...) on the role of belief-reinforcing echoes. First, I argue that the model allows us to incorporate Nguyen's main point about distrust without construing other commentators as deeply mistaken about the nature of echo chambers. Second, I use the model to develop an account of collaborative resistance and use it to clarify the role echo chambers play in spreading misinformation. (shrink)

Vocal affect is a subcomponent of emotion programs that coordinate a variety of physiological and psychological systems. Emotional vocalizations comprise a suite of vocal behaviors shaped by evolution to solve adaptive social communication problems. The acoustic forms of vocal emotions are often explicable with reference to the communicative functions they serve. An adaptationist approach to vocal emotions requires that we distinguish between evolved signals and byproduct cues, and understand vocal affect as a collection of multiple (...) strategic communicative systems subject to the evolutionary dynamics described by signaling theory. We should expect variability across disparate societies in vocal emotion according to culturally evolved pragmatic rules, and universals in vocal production and perception to the extent that form–function relationships are present. (shrink)

The US populace appears to be increasingly polarized on partisan lines. Political fissures bifurcate the country even on empirical matters like vaccine safety and anthropogenic climate change. There now exists an ever-expanding interdisciplinary research program in which theorists attempt to explain increases in political polarization and myriad other phenomena collected under the “post-truth” heading by appeal to social-epistemic structures, like echo chambers and epistemic bubbles, that affect the flow and uptake of information in various communities. In this paper, I (...) critically analyze C. Thi Nguyen’s important and popular analysis of echo chambers and epistemic bubbles. As I demonstrate, the explanatory mechanisms on which Nguyen focuses are, arguably, overly cognitive and obscure significant effects of social-epistemic structures on our affective lives. The broader lesson to draw from my discussion is the following: commonly used expressions intended to refer to social-epistemic problems, like “political polarization”, possess no univocal definition across theorists, and various ways of making the terms precise are differentially successful in characterizing verifiable phenomena. Theorizing about social-epistemic structures should be responsive to relevant empirical work on various phenomena that we have good reason to believe constitute real and substantive problems that result from the flow and uptake of information. (shrink)

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in (...) the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society. (shrink)

This study explores the use of deictic gestures, vocalizations and words compared to content-loaded, or representational gestures and words in children’s early one- and two-element utterances. We analyze the spontaneous production of four children, observed longitudinally from 10–12 to 24–25 months of age, focusing on the components of children’s utterances, the information encoded, and the temporal relationship between gestures and vocalizations or words that were produced in combination. Results indicate that while the gestural and vocal modalities are meaningfully and (...) temporally integrated form the earliest stages, deictic and representational elements are unevenly distributed in the gestural vs. the vocal modality, and in one vs. two-element utterances. The findings suggest that while gestural deixis plays a primary role in allowing children to define and articulate their vocal productions, representational skills appear to be markedly more constrained in the gestural as compared to the vocal modality. (shrink)

This article is an exercise in the virtue epistemology of the internet, an area of applied virtue epistemology that investigates how online environments impact the development of intellectual virtues, and how intellectual virtues manifest within online environments. I examine online echo chambers and epistemic bubbles (Nguyen 2020, Episteme 17(2), 141–61), exploring the conceptual relationship between these online environments and the virtue of open-mindedness (Battaly 2018b, Episteme 15(3), 261–82). The article answers two key individual-level, virtue epistemic questions: (Q1) How does (...) immersion in online echo chambers and epistemic bubbles affect the cultivation and preservation of open-mindedness, and (Q2) Is it always intellectually virtuous to exhibit open-mindedness in the context of online echo chambers and epistemic bubbles? In response to Q1, I contend that both online echo chambers and online epistemic bubbles threaten to undermine the cultivation and preservation of open-mindedness, albeit via different mechanisms and to different degrees. In response to Q2, I affirm that both a deficiency and an excess of open-mindedness can be virtuous in these online environments, depending on the epistemic orientation of the digital user. (shrink)

Low mean fundamental frequency (F 0) in men’s voices has been found to positively influence perceptions of dominance by men and attractiveness by women using standardized speech. Using natural speech obtained during an ecologically valid social interaction, we examined relationships between multiple vocal parameters and dominance and attractiveness judgments. Male voices from an unscripted dating game were judged by men for physical and social dominance and by women in fertile and non-fertile menstrual cycle phases for desirability in short-term and (...) long-term relationships. Five vocal parameters were analyzed: mean F 0 (an acoustic correlate of vocal fold size), F 0 variation, intensity (loudness), utterance duration, and formant dispersion (D f , an acoustic correlate of vocal tract length). Parallel but separate ratings of speech transcripts served as controls for content. Multiple regression analyses were used to examine the independent contributions of each of the predictors. Physical dominance was predicted by low F 0 variation and physically dominant word content. Social dominance was predicted only by socially dominant word content. Ratings of attractiveness by women were predicted by low mean F 0, low D f , high intensity, and attractive word content across cycle phase and mating context. Low D f was perceived as attractive by fertile-phase women only. We hypothesize that competitors and potential mates may attend more strongly to different components of men’s voices because of the different types of information these vocal parameters provide. (shrink)

Complex vocal learning, the capacity to imitate new sounds, underpins the evolution of animal vocal cultures and song dialects and is a key prerequisite for human speech and song. Due to its relevance for the understanding of cultural evolution and the biology and evolution of language and music, the trait has gained much scholarly attention. However, while we have seen tremendous progress with respect to our understanding of its morphological, neurological and genetic aspects, its peculiar phylogenetic distribution has (...) remained elusive. Intriguingly, animals as distinct as hummingbirds and humpback whales share well-developed vocal learning capacity in common with humans, while this ability is quite limited in nonhuman primates. Yet, solving this ‘vocal learning conundrum’ may shed light on the constraints ancestral humans overcame to unleash their vocal capacities. To this end I consider major constraints and functions that have been proposed. I highlight an especially promising ecological constraint, namely the spatial dimensionality of the environment. Based on an informal comparative review, I suggest that complex vocal learning is associated with three-dimensional habitats such as air and water. I argue that this is consistent with recent theoretical advances—i.e., the coercion-avoidance and dimensionality hypotheses—and with the long-standing hypothesis that mate choice is a major driver of the evolution and origin of complex vocal learning. However, I stress that multiple functions may apply and that quantitative phylogenetic comparative methods should be employed to finally resolve the issue. (shrink)

Barbara Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In Echo Objects she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. This, then, is a book for (...) both sides of the aisle, a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. On the other hand, she compellingly shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums as old and deep-seated as the human urge to imitate, the mapping of inner space, and the role of narrative and nonnarrative representation. As precise in her discussions of firing neurons as she is about the coordinating dynamics of image making, Stafford locates these major transdisciplinary issues at the intersection of art, science, philosophy, and technology. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation. (shrink)

Echo experiences are illusory experiences of ordinary primary sounds. Just as there is no new object that we see at the surface of a mirror, there is no new sound that we hear at a reflecting surface. The sound that we hear as an echo just is the original primary sound, though its perception involves illusions of place, time, and qualities. The case of echoes need not force us to adopt a conception according to which sounds are persisting (...) object-like particulars that travel through space. (shrink)

Are the members of echo chambers blameworthy for their beliefs? If we follow Sarah Stroud's account of friendship, we end up with the following conclusion: if echo chambers involve friendship, then the individuals have strong reasons not to live up to epistemic demands or ideals when the friendships are formed in the echo chambers they are members of. This result stands in striking contrast with the received view, according to which the members of echo chambers are (...) blameworthy for their epistemic vices and faulty beliefs. The received view uses individual epistemic vices to propose individualistic solutions for the problem of echo chambers. I argue that this is misleading, simply because the members of echo chambers are not blameworthy due to the friendships cultivated in the echo chambers. (shrink)

Erich Neumann (1905-1960) was a student, close collaborator, and life-long friend of C. G. Jung's. He moved from Berlin to Palestine in 1934 where he endured WW11 with much distress. This provoked intense and depthful research into topics such as evil, consciousness, and creativity that would occupy his attention for the rest of his life- as well as challenge his friend's (Jung) thinking in many ways. His writings are still valuable and ever so pertinent for our understanding of human nature (...) and the changing developments that have resulted in "the eruption of the shadow and psychic chaos in today's world." (Jerome Bernstein) Eternal Echoes offers the reader an overview of Neumann's opus, which is large and multifaceted. Beginning with an introduction of Erich Neumann including a series of his active imagination watercolors, we see an intimate view into his internal process. The Jung-Neumann Correspondence examines evil as witnessed during WW11. The work Neumann focused on during this period resulted in his exploration of his own Roots of Jewish Consciousness, both Revelation and Apocalypse, and Hasidism. From there we move into an exploration of his exceptional and iconic books, The Origins and History of Consciousness, and The Great Mother, and two papers "Mass Man and the Phenomena of Recollectivation" and "Narcissism". Neumann continued his study of mythology and archetypes in Amor and Psyche: The Development of the Feminine. Later in Neumann's life, he wrote a number of books on creativity exploring its nature and source which began with his important early paper on "Mystical Man": Creative Man, Art and the Creative Unconscious, The Place of Creation. Neumann's works lead us back to our ground of being, where we live with opposites that are fiercely alive, impacting our lives and cultures. His writings are comprehensive, clear and steeped in deeply felt experiences that help to place us on firm ground. Since many of his themes and concepts are universal-beginning with archetypes, myths, and images-this book is not only pertinent to Jungian psychotherapists but anyone interested in understanding the profundity of human nature and its development. (shrink)

ABSTRACT Using the example of the Twitter feed #MeToo, this paper argues that CDS, in its task to understand more about how social media can offer ways for voices to challenge ideologies from below, needs to explore the ideas of ‘nodes’. Right wing populism in the west: Social media discourse and echo chambers. https://www.researchgate.net/profile/majid_khosravinik/publications) and ‘echo chambers’ in greater detail. Though #MeToo did provide an ideological challenge, I show how it is also discursively chaotic and partly driven by (...) influencers who may have a range of other motivations to align with the moral capital in the feed. At another level, #MeToo is highly nodal in terms of affect and moral conviction. These features can be understood in regard to nodal power of affective connectivity. Affective publics and structure of storytelling: Sentiment, events and mediality. Information, Communication and Society, 19, 307–324. https://doi.org/10.1080/1369118x.2015.1109697) and also in terms of major shifts in accepted norms of debating politics and society driven by social media. I consider what this means for CDS in relation to identifying discourses and discovering ideology in the social media landscape. (shrink)

There is debate within the literature as to whether emotion dysregulation (ED) in Attention-Deficit Hyperactivity Disorder (ADHD) reflects deviant attentional mechanisms or atypical perceptual emotion processing. Previous reviews have reliably examined the nature of facial, but not vocal, emotion recognition accuracy in ADHD. The present meta-analysis quantified vocal emotion recognition (VER) accuracy scores in ADHD and controls using robust variance estimation, gathered from 21 published and unpublished papers. Additional moderator analyses were carried out to determine whether the nature (...) of VER accuracy in ADHD varied depending on emotion type. Findings revealed a medium effect size for the presence of VER deficits in ADHD, and moderator analyses showed VER accuracy in ADHD did not differ due to emotion type. These results support the theories which implicate the role of attentional mechanisms in driving VER deficits in ADHD. However, there is insufficient data within the behavioural VER literature to support the presence of emotion processing atypicalities in ADHD. Future neuro-imaging research could explore the interaction between attention and emotion processing in ADHD, taking into consideration ADHD subtypes and comorbidities. (shrink)

In “Regulating social media as a public good: Limiting epistemic segregation” (2022), Toby Handfield tackles a well-known problematic aspect of widespread social media use: the formation of ideologically monotone and insulated social networks. Handfield argues that we can take some cues from economics to reduce the extent to which echo chambers grow up around individual users. Specifically, he argues that tax incentives to encourage network heterophily may be levied at any of three different groups: individual social media users, social (...) media sites/companies, or advertisers who use social media to promote their products and material. In this response, I examine the plausibility of using such incentives on each of the these groups. I argue, first, that using tax incentives on either (1) social media companies or (2) advertisers would be ineffective as these incentives could not feasibly be made strong enough to override the enormous financial gain of the standard social media algorithms. Next, I argue that levying the incentives/penalties on individual users would be a hazard, due to the risk of what is called the epistemic “backfire effect”. Finally, I argue that the problem lies in relying on incentives and disincentives—rather than direct regulation—to increase network heterophily. (shrink)

Echo phonology was originally proposed to account for obligatory coordination of manual and mouth articulations observed in several sign languages. However, previous research into the phenomenon lacks clear criteria for which components of movement can or must be copied when the articulators are so different. Nor is there discussion of which nonmanual articulators can echo manual movement. Given the prosodic properties of echoes (coordination of onset/offset and of dynamics such as speed) as well as general motoric coordination of (...) various articulators in the human body, we expect that the mouth is not the only nonmanual articulator involved in echo phonology. In this study, we look at a fixed set of lexical items across 36 sign languages and establish that the head can echo manual movement with respect to timing and to the axis/axes of manual movement. We propose that what matters in echo phonology is the visual percept of temporally coordinated movement that repeats a salient movement property in such a way as to give the visual impression of a copy. Our findings suggest that echoes are not obligatory motor couplings of two or more articulators but may enhance phonological distinctions that are otherwise difficult to see. (shrink)

Noh (1998a, b) analyzes echo questions in terms of metarepresentation and pragmatic enrichment within the framework of Relevance Theory. This paper argues that while the basic idea of metarepresentational analysis seems correct, it is better implemented differently. The alternative analysis proposed in this paper consists of three claims: first, echo questions are metarepresentational with rising intonation, with the rise alone conferring the question status; second, echo questions question the pragmatically enriched attribution; third, the focus of metarepresentation is (...) to be distinguished from the rest of the metarepresentation. This version of metarepresentational analysis reveals why echo questions behave the way they do, both syntactically and semantically/pragmatically. At the same time, this analysis captures not only similarities but also differences between echo questions and interrogatives on a principled basis. (shrink)

Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In _Echo Objects,_ she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. As a result, _Echo Objects_ is (...) a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. In contrast, she shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums such as the human urge to imitate and the role of narrative and nonnarrative representation. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation. “Heroic.... The larger message of Stafford’s intense, propulsive prose is unassailable. If we are to get much further in the great puzzle of ‘binding’—how the perception of an image, the will to act on intention, or the forging of consciousness is assembled from the tens of thousands of neurons firing at any one moment in time—then there needs to be action on all fronts.”—_Science_. (shrink)

Asif A. Ghazanfar,1,3,* Hjalmar K. Turesson,1,3 statistical pattern recognition [16, 17] and psychophys- Joost X. Maier,1 Ralph van Dinther,2 ics [13, 18–23] have suggested that formants are signif- Roy D. Patterson,2 and Nikos K. Logothetis1 icant contributors to these indexical cues. It is likely, 1Max Planck Institute for Biological Cybernetics then, that detecting formants could have provided 72076 Tuebingen ancestral primates with indexical cues necessary for Germany navigating the complex social interactions that are the 2Centre for the Neural Basis of (...) Hearing essence of primate societies. One important indexical Department of Physiology cue is body size. Formant cues related to body size University of Cambridge could be used by monkeys to determine the sex (in sex- CB2 3EG Cambridge ually dimorphic species), degree of potential threat (e.g., United Kingdom whether a competitor is larger or smaller), and/or age of an individual, as such cues do for human listeners [13, 18, 20, 21]. Summary Formants are the result of acoustic filtering by the supralaryngeal vocal tract—the nasal and oral cavities Vocal-tract resonances (or formants) are acoustic sigabove the vocal folds. During vocal production, pulses natures in the voice and are related to the shape and of air generated by the rapid movement of the vocal length of the vocal tract. Formants play an important folds produce an acoustic signal. The frequency of these role in human communication, helping us not only to pulses—the glottal-pulse rate—determines the fundadistinguish several different speech sounds [1], but mental frequency of the signal, which in turn is perceived also to extract important information related to the as pitch. As the signal passes through the supralaryngphysical characteristics of the speaker, so-called ineal vocal tract, it excites resonances, resulting in the dexical cues. How did formants come to play such an enhancement of particular frequency bands; these are important role in human vocal communication? One the formants.. (shrink)

To a greater extent than in other technical domains, research and progress in Artificial Intelligence has always been entwined with the fictional. Its language echoes strongly with other forms of cultural narratives, such as fairytales, myth and religion. In this essay we present varied examples that illustrate how these analogies have guided not only readings of the AI enterprise by commentators outside the community but also inspired AI researchers themselves. Owing to their influence, we pay particular attention to the similarities (...) between religious language and the way in which the potential advent of greater than human intelligence is presented contemporarily. We then move on to the role that fiction, science fiction most of all, has historically played and is still playing in the discussion of AI by influencing researchers and the public, shifting the weights of different scenarios in our collectively perceived probability space. We sum up by arguing that the lore surrounding AI research, ancient and modern, points to the ancestral and shared human motivations that drive researchers in their pursuit and fascinate humanity at large. These points of narrative entanglement where AI meets the wider culture should serve to amplify the call to engage ourselves with the discussion of the potential destination of this technology. (shrink)

This article focuses on the significance of acoustical phenomena in the development of the subjectivity of the infant. An attribute of that development, beginning with the breakdown of psychological symbiosis for the infant, is the loss implicit in the eventual participation of the subject in a symbolic order and the consequent acquisition of language. The essay examines how such loss can contribute to the constitution of the subject and the ego of the subject. Two aspects of language, metaphor and metonymy, (...) are examined in regard to their fundamental relationship to subjectivity. The character Echo, from the myth of Narcissus and Echo, is the namesake for a phase of development, the Echo Phase, which is postulated to begin after the third month of life. During this phase, to some extent the development of the subject depends upon intersubjectivity and concomitant auditory and linguistic phenomena. It is an implicit purpose of this essay to understand the advent of the ego as the expression of a phenomenological structure, dependent upon language and intersubjectivity, that mediates between subject and world. ... By chance Narcissus lost track of his companions, started calling "Is anybody here?" and "Here!" said Echo. He looked around in wonderment, called louder "Come to me!" "Come to me!" came back the answer. He looked behind him, and saw no one coming; "Why do you run from me?" and heard his question Repeated in the woods. "Let us get together!" There was nothing Echo would ever say more gladly, "Let us get together!" And to help her words, Out of the woods she came, with arms all ready To fling around his neck. But he retreated: "Keep your hands off," he cried, "and do not touch me! I would die before I give you a chance at me." "I give you a chance at me," and that was all She ever said thereafter, spurned and hiding, Ashamed, in the leafy forests, in lonely caverns. She frets and pines, becomes all gaunt and haggard, Her body dries and shrivels till voice only And bones remain, and then she is voice only For the bones are turned to stone. She hides in woods And no one sees her now along the mountains, But all may hear her, for her voice is living. Ovid, Metamorphoses. (shrink)

Potential speech abilities constitute a key component in the description of the Neandertals and their relations with modern Homo Sapiens. Since Lieberman & Crelin postulated in 1971 the theory that “Neanderthal man did not have the anatomical prerequisites for producing the full range of human speech” their speech capability has been a subject of hot debate for over 30 years, and remains a controversial question. In this study, we first question the methodology adopted by Lieberman and Crelin, and we point (...) out articulatory and acoustic flaws in the data and the modeling. Then we propose a general articulatory-acoustic framework for testing the acoustic consequences of the trade-off between oral and pharyngeal cavities. Specifically, following Honda & Tiede, we characterize this trade-off by a Laryngeal Height Index corresponding to the length ratio of the pharyngeal cavity to the oral cavity. Using an anthropomorphic articulatory model controlled by lips, jaw, tongue and larynx parameters, we can generate the Maximal Vowel Space, which is a triangle in the F1 / F2 plane, the three point vowels /a/, /i/, and /u/ being located at its three extremities. We sample the evolution of the position of the larynx from birth to adulthood with four different LHI values, and we show that the associated MVS are very similar. Therefore, the MVS of a given vocal tract does not depend on the LHI: gestures of the tongue body, lips and jaw allow compensations for differences in the ratio between the dimensions of the oral cavity and pharynx. We then infer that the vowel space of Neandertals was potentially no smaller than that of a modern human and that Neandertals could produce all the vowels of the world’s languages. Neandertals were no more vocally handicapped than children at birth are. Therefore, there is no reason to believe that the lowering of the larynx and a concomitant increase in pharynx size are necessary evolutionary pre-adaptations for speech. However, since our study is strictly limited to the morphological and acoustic aspects of the vocal tract, we cannot offer any definitive answer to the question of whether Neandertals could produce human speech or not. (shrink)