This book explores the obnoxious behavior and movements of noise. However, what is noise? What is it doing to us and to our world? How can we live and move with noise? How do we produce and distribute our own noise? These questions and many more are discussed through a philosophical investigation of noise. Starting off from the statement that â ~noise is natureâ (TM), it soon becomes clear that there is more to (...) class='Hi'>noise than just nature. In an attempt to deal with nature, we have started to order it and put it into boxes. One of these boxes is the container for living, the peculiarities of which harken back to the musings of Plato on his cave and catapult us into contemporary times where office cells mirror those of the monastery. Although any definite answers will be absent, there is still much to tell about noise, even if it remains in the realm of the obscure or the obscene. (shrink)

Aesthetic Noise: The Philosophy of Intentional Listening considers the complex nature of noise within the framework of philosophical filtering, examining how, if noise is engaged with aesthetically, it can produce profound experiences and understandings. Applying the philosophies of Edmund Burke, Martin Heidegger, Jacque Derrida, and Julia Kristeva to works by Luigi Russolo, John Cage, Steve Reich, Alison Knowles, Annea Lockwood, Alyce Santoro, and Sunn O))), this book explores noise as an art material, and ultimately how (...) it can become a tool for activism and expanded creative possibilities. It demonstrates that, by engaging multiple philosophies in concert, the value of aesthetic noise is amplified, thus allowing the listener to better appreciate noise and its possibilities. Providing greater insights into noise as an aesthetic material, Aesthetic Noise will be of interest to researchers and students of sound studies, philosophy, and sound art, as well as sound designers, artists, musicians, and composers. (shrink)

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it (...) a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture. (shrink)

This book aims to thoroughly examine noise's conceptual potencies and explore and amplify its epistemic consequences. The author explores the prospect of different "contextures" of a present made volatile by noise. Given our capacity to create robust, adaptable social systems, we need better control uncertainty, randomness, and noise.

Noise permeates our highly mediated and globalised cultures. Noise as art, music, cultural or digital practice is a way of intervening so that it can be harnessed for an aesthetic expression not caught within mainstream styles or distribution. This wide-ranging book examines the concept and practices of noise, treating noise not merely as a sonic phenomenon but as an essential component of all communication and information systems. The book opens with ideas of what noise is, (...) and then works through ideas of how noise works in contemporary media, to conclude by showing potentials within noise for a continuing cultural renovation through experimentation. Considered in this way, noise is seen as an essential yet excluded element of contemporary culture that demands a rigorous engagement. Reverberations brings together a range of perspectives, case studies, critiques and suggestions as to how noise can mobilize thought and cultural activity through a heightening of critical creativity.Written by a strong, international line-up of scholars and artists, Reverberations looks to energize this field of study and initiate debates for years to come. (shrink)

Semantic noise, the effect ensuing from the denotative and thus functional variability exhibited by different terms in different contexts, is a common concern in natural language processing (NLP). While unarguably problematic in specific applications (e.g., certain translation tasks), the main argument of this paper is that failing to observe this linguistic matter of fact as a generative effect rather than as an obstacle, leads to actual obstacles in instances where language model outputs are presented as neutral. Given that a (...) common and long-standing challenge in NLP is the interpretation of ambiguous – i.e., semantically noisy – cases, this article focuses on an exemplar ambiguity-resolution task in NLP: the problem of anaphora in Winograd schemas. The main question considered is: to what extent is the standard approach to disambiguation in NLP subject to a stagnant “image of language”? And, can a transdisciplinary, dynamic approach combining linguistics and philosophy elucidate new perspectives on these possible conceptual shortcomings? In order to answer these questions we explore the term and concept of noise, particularly in its presentation as semantic noise. Owing to its definitional plurality, and sometimes even desirable unspecificity, the term noise is thus used as proof of concept for semantic generativity being an inherent characteristic in linguistic representation, and its concept is used to interrogate assumptions admitted in the resolution of Winograd schemas. The argument is speculative and theoretical in method, and the result is an analysis which provides an account of the fundamentally dialogical and necessarily open-ended effects of semantic noise in natural language. (shrink)

A follow-up to Hegarty's successful Noise/Music, this book looks at noise in a range of contexts within sound studies and cultural theory.

Platonic Noise brings classical and contemporary writings into conversation to enrich our experience of modern life and politics. Drawing on writers as diverse as Plato, Homer, Nietzsche, Borges, Don DeLillo, and Philip Roth, Peter Euben shows us the relevance of both popular literature and ancient Greek thought to current questions of loss, mourning, and democracy--all while arguing for the redeeming qualities of political and intellectual work and making an original case against presentism.Juxtaposing ancient and contemporary texts, politics, and culture, (...) Euben reflects on a remarkable range of recent issues and controversies. He discusses Stoic cosmopolitanism and globalization, takes a critical look at Nietzsche's own efforts to make the Greeks speak to the issues of his day, examines a Greek tragedy through Hannah Arendt's eyes, compares the role of comedy in ancient Athens and contemporary America, analyzes political theory as a reaction to an acute sense of loss, and considers questions of agency and morality.Platonic Noise makes a case for reading political theory and politics through literature. Working as much through example as through explicit argument, Euben casts the literary memory of Athenian democracy as a crucial cultural resource and a presence in contemporary political and theoretical debates. In so doing, he reasserts the moral value of what we used to call participatory democracy and the practical value of seeing ourselves with the help of insights from long-gone Greeks. (shrink)

This book presents a philosophical analysis of the rising interest in the notion of 'noise'. The term 'noise' no longer pertains only to aesthetic judgement, for instance of acoustic or visual 'noise', but also to domains as varied as communication theory, physics and biology. This book investigates if there can be a coherent understanding of 'noise' that is effectively shared among the natural-and human sciences, technology and the arts, revealing 'noise' to be a properly philosophical (...) problem. Drawing the philosophical consequences of `noise' for the theory of knowledge, a philosophical revaluation of C. Shannon and W. Weaver's theory of 'information entropy' here serves as a basis upon which to problematize the common idea that 'noise' can be reduced to notions of error, disorder or disorganization. The wider consequences of this analysis relate the technological and scientific aspect of 'noise' with its cultural and psycho-social aspects. The heart of Malaspina's argument is the contestation of the ground upon which we judge and distinguish noise from information, finally exploring its emancipatory potential. (shrink)

Music and noise seem to be mutually exclusive. Music is generally considered as an ordered arrangement of sounds pleasing to the ear and noise as its opposite: chaotic, ugly, aggressive, sometimes even deafening. When presented in a musical context, noise can thus act as a tool to express resistance to predominant cultural values, to society, or to socioeconomic structures (including those of the music industry). The oppositional stance confirms current notions of noise as something which is (...) destructive, a belief not only cherished by hard-core rock bands but also shared by engineers and companies developing devices to suppress or reduce noise in our daily environment. In contrast to the common opinions on noise just described, this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a 'defect', this volume aims at studying its aesthetic and cultural potential. Within the noise music study field, most recent publications focus on subgenres such as psychedelic post-rock, industrial, hard-core punk, trash or rave, as they developed from rock and popular music. This book includes work on avant-garde music developed in the domain of classical music as well. In addition to already well-established (social) historical and aesthetical perspectives on noise and noise music, this volume also offers contributions by music analysts. (shrink)

One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material--as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its (...) contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question "interview"--"what is noise (music) to you?" and "why do you make it?"--by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay."--Page 4 of covers. (shrink)

This paper explores the functional role of noise in synthetic biology and its relation to the concept of randomness. Ongoing developments in the field of synthetic biology are pursuing the re-organisation and control of biological components to make functional devices. This paper addresses the distinction between noise and randomness in reference to the functional relationships that each may play in the evolution of living and/or synthetic systems. The differentiation between noise and randomness in its constructive role, that (...) is, between noise as a perturbation in routine behaviours and noise as a source of variability that cells may exploit, indicates the need for a clarification and rectification of the conflicting uses of the notion of noise in the studies of the so-called noise biology. (shrink)

This essay uses Györgi Buzsáki's use of EEG data to draw conclusions about brain function as an example to show that investigators sometimes draw conclusions from noisy data by analyzing the noise rather than by extracting a signal from it. The example makes vivid some important differences between McAllister's, Woodward's, and my ideas about how data are interpreted.

According to the evaluativist theory of bodily pain, the overall phenomenology of a painful experience is explained by attributing to it two types of representational content—an indicative content that represents bodily damage or disturbance, and an evaluative content that represents that condition as bad for the subject. This paper considers whether evaluativism can offer a suitable explanation of aversive auditory phenomenology—the experience of awful noises—and argues that it can only do so by conceding that auditory evaluative content would be guilty (...) of widespread error. Defending such an error-theory, moreover, comes with several explanatory costs. (shrink)

The developing body of empirical work on the "Gettier effect" indicates that, in general, the presence of a Gettier-type structure in a case makes participants less likely to attribute knowledge in that case. But is that a sufficient reason to diverge from a JTB theory of knowledge? I argue that considerations of good model selection, and worries about noise and overfitting, should lead us to consider that a live, open question. The Gettier effect is perhaps so transient, and so (...) sensitive to other, epistemologically-inappropriate factors, that it raises the question of whether it ought to be counted as something to include in our theories -- or as a piece of noise to be excluded from them. (shrink)

The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural (...) noise by applying the audio understanding of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux. -/- Immersion Into Noise is intended as a conceptual handbook useful for the development of a personal-political-visionary art of noise. On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? Joseph Nechvatal explores this intriguing question in Immersion Into Noise. (shrink)

What can the sounds of today tell us about the future? Can an analysis of sound and sonic practices allow us to make reliable predictions in relation to wider social phenomena? And what might they tell us about technology in a world where futurology is such a frenzied and busy field? In order to answer these questions, this book tests a range of propositions that connect noise, sound and music to political, economic and technological events. Hence it is a (...) book about historical trajectories and conflicting ideas about time and the necessity to re-contextualize and interpret them in the digital age. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Graham McPhail, “Too Much Noise in the Classroom? Towards a Praxis of Conceptualization,” Philosophy of Music Education, 26, No. 2 (2018): 176–98.Patrick K. Freer“Are you all right, Sir?” asked the head trainer. I was on the treadmill at the gym, reading Graham McPhail’s “Too Much Noise in the Classroom?”1 as I worked up a sweat. Apparently I got so engaged by McPhail’s writing that (...) my heart rate spiked sufficiently to trigger a warning monitor at the front desk. I suspect not many others at the gym would agree that McPhail’s article qualifies as a pulse-racing, spine-tingling thriller. Still, I found the article to be revelatory in its content, scope, and style. In this brief essay, I will provide a few contextual and reflective comments regarding elements of his argument, state why I feel McPhail’s article is important, and describe two examples of how I plan to use his article as a framework for the consideration of philosophical concepts in music education.NOISE“Noise” is a curious word. The term has etymological origins in the Latin “nausea” with its connotations of discomfort and it gradually became associated [End Page 87] with “discord” or “quarrel” during the medieval period.2 The “noise” referenced in McPhail’s article title is akin to statistical noise in a research study: random data points that are discordant with the underlying facet being revealed or examined. McPhail likens this concept of noise to some current conversations about music education’s curricular and pedagogical foundations, specifically those centered on the aesthetic versus paraxial debates and with “political, emancipatory, and social justice aspirations.”3 McPhail writes that resultant pedagogies can unwittingly inhibit intended musical outcomes when “teachers decide not to ground knowledge in use in the systems of meaning from which they are derived.”4 These systems of meaning, McPhail offers, are concentrated in music’s “universal or context-independent concepts”5 from which arise the questions “what are these systems of meaning?” and “how can we make them meaningful for students?”6 These questions imply distinctions between epistemology and pedagogy and they necessitate consideration of a child’s cognitive growth in order for the answers to guide a teacher toward the development of meaningful educative processes in classrooms.7CURRICULUM AND PEDAGOGYA central point of McPhail’s argument is that proponents of postmodern approaches to music education occasionally conflate pedagogy with curriculum. This can be seen in our professional journals, for example, when authors position music as the means to any number of activist ends rather than focusing on the teaching and learning of music through emancipatory principles.8 McPhail argues, correctly in my view, that music’s praxis should inform the various pedagogies we might employ when teaching music, while the conceptualization of music provides the core content of what it is we are to teach in the first place. That curricular dilemma, how versus what, is the crucible necessary to balance our conversations about equity and relevance in—and to—music education. It is possible to realize approaches to pedagogy that embrace vernacular musics, reflect social issues, and promote consciousness of action and reaction. These approaches should certainly be thought provoking, engaging, and relevant to the lives of students. But, without a defined curricular plan for guiding students to musical understandings that cumulatively build toward increasing levels of expertise, it is unlikely that the music education endeavor will be as efficient or empowering as it might otherwise be.In a 2014 essay, McPhail wrote that schools can offer the conceptual grounding that expands possibilities for students through “knowledge that is context-independent rather than context-dependent.”9 McPhail argues that this approach to teaching invokes principles of social justice itself as it provides formal knowledge [End Page 88] that students can then apply to informal contexts beyond the classroom. McPhail offers in his earlier work that “if the boundaries between informal knowledge and the more formal knowledge offered in the school are dissolved students may be at a loss to see what school can actually offer them.”10PEDAGOGY AND CHILD DEVELOPMENTMcPhail identifies music’s underlying, related concepts as one of three... (shrink)

Biographical note: Kai Ginkel (Dr.), geb. 1981, ist Projektmitarbeiter an der Universität für Musik und darstellende Kunst Graz. Der Soziologe promovierte an der Katholischen Universität Eichstätt-Ingolstadt. Zuvor war er PhD-Scholar im postgradualen Lehrgang”Sociology of Social Practices“am Institut für Höhere Studien Wien.

The picture of synthetic biology as a kind of engineering science has largely created the public understanding of this novel field, covering both its promises and risks. In this paper, we will argue that the actual situation is more nuanced and complex. Synthetic biology is a highly interdisciplinary field of research located at the interface of physics, chemistry, biology, and computational science. All of these fields provide concepts, metaphors, mathematical tools, and models, which are typically utilized by synthetic biologists by (...) drawing analogies between the different fields of inquiry. We will study analogical reasoning in synthetic biology through the emergence of the functional meaning of noise, which marks an important shift in how engineering concepts are employed in this field. The notion of noise serves also to highlight the differences between the two branches of synthetic biology: the basic science-oriented branch and the engineering-oriented branch, which differ from each other in the way they draw analogies to various other fields of study. Moreover, we show that fixing the mapping between a source domain and the target domain seems not to be the goal of analogical reasoning in actual scientific practice. (shrink)

« Dans la première préface à la Critique de la raison pure Kant se réfère aux Métamorphoses d’Ovide pour comparer une métaphysique hors bornes à la reine Hécube. Or, ce qui semble être tu dans cette métaphore, c’est qu’Ovide fait culminer la douleur d’Hécube dans sa métamorphose en chienne enragée. Le cliché de la reine des sciences est ainsi poussée à son paroxysme : la métaphysique sauvage serait une chienne enragée! Cet article revient, par le biais de l’œuvre sonore de (...) l’artiste power noise Rosaceae (Leyla Yenirce), à une Hécube qui hante la philosophie. Hécube pose, selon l’argument exposé ici, le problème d’une aísthēsis (αἴσθησις) pure, qui hanterait la notion de raison pure comme son complément logique mais refoulé. Refoulé car, si l’idée d’une raison pure semble parfaitement innocente, celle d’une aísthēsis (αἴσθησις) pure évoque à l’inverse un scandale pour la pensée philosophique, puisque l’idée d’un objet à penser en est exclue, et puisque son spectre renvoie à tout ce qui terrorise les philosophes : la fantaisie et la folie, le désir et la culpabilité, l’enthousiasme et l’irrationalité. ». (shrink)

ABSTRACT A recent issue of the journal Design and Culture included Lucy Kimbell's interview of object-oriented ontology philosopher Graham Harman. The invitation was premised on Harman's ability to counter the contemporary focus on user-centered design with an object orientation. Harman's appearance in the world of design discourse presents a paradox. To ask what object-oriented ontology that explicitly rejects anthropocentrism can offer user-centered and decidedly anthropocentric design practice seems to miss the point of an object orientation. An answer to the paradox (...) may reside in Ian Bogost's account of the metaphorism of object-oriented ontology. This essay explores Bogost's Alien Phenomenology, or What It's like to Be a Thing, which uses Harman's metaphor of black noise as “the background noise of peripheral objects,” and considers the design implications of Bogost's call to amplify black noise and linger in the speculative fiction of things, such as roasted green chile peppers, udon noodles, and pound cake. (shrink)

What is noise? A tumultuous crowd is noisy or, more cheerfully, a group of students on holiday, or a flock of migrating birds. A loud conversation or loud laughter can be noisy if we are reading a philosophy article, or we are performing a physics experiment, or we are concentrating on a yoga exercise. In all such cases, noise is something that others do and that we unwillingly suffer, something that we perceive as an invasion of our (...) perceptual space, or an interference with it.2 We instinctively associate noise with an idea of impediment, or obstacle—with a source of distraction that prevents us from accomplishing the task or occupation we are focusing on. These associations are confirmed by dictionary... (shrink)

Journal of Philosophy of Education, EarlyView.

Although the Internet is often used to talk with those with whom one agrees, this paper presents an "agonistic" strategy designed to help students find discussion partners with whom they disagree. This "agonistic" strategy has a number of advantages, specifically helping students' skills in writing, reading, logic, and rhetoric, as well as helping them recognizes the values of these skills and the importance of being well-informed when one enters a debate. As a further benefit, this approach has improved classroom discussion (...) and improved the substance and form of those discussions. In contrast with those who fear that the Internet hasushered in an age where citizens may choose only to look at that information confirming views they already hold, this exercise helps show that the distance among intellectual sparring partners is more of a gap than a chasm, and that our debates are not fruitless, but in fact are essential to democracy and a conception of our lives as active, engaged citizens. (shrink)

The 'Reaction experiment with Hipp chronoscope' is one of the classical experiments of modern psychology. This paper investigates the technological contexts of this experiment. It argues that the development of time measurement and communication in other areas of science and technology (astronomy, the clock industry) were decisive for shaping the material culture of experimental in psychology. The chronoscope was constructed by Matthaus Hipp (1813-1893) in the late 1840s. In 1861, Adolphe Hirsch (1830-1901) introduced the chronoscope for measuring the 'physiological time' (...) of astronomical observers. Hirsch's observatory at Neuchatel (Switzerland) served to control the quality of clocks produced in the nearby Jura mountains. Hipp provided the observatory with a telegraphic system that sent time signals to the centers of clock production. Time telegraphy constituted the stable surroundings of the reaction time experiments carried out by both astronomers and psychologists. This technology permitted precise measurements of short time intervals and offered to Hirsch, as well as to Wilhelm Wundt (1832-1920), a useful metaphor for conceptualizing their respective 'epistemic objects'. But time telegraphy also limited the possibilities of the experimental work conducted within its framework. In particular, noise from outside and inside the research sites at Neuchatel, Leipzig and elsewhere disturbed the precise communication of time. (shrink)

The ‘I’ fractured by time – if Deleuze returns repeatedly to this seemingly minor moment in Kant's system, it is not simply to sound anew the theme of ‘difference’. No, Deleuze turns to this ‘interior drama’ for the same reason that Kant, in the Opus Postumum, returns to it: it presents the most direct passage from ‘interior’ to ‘exterior’. But Kant's late complication of the transcendental field undermines several of his most cherished theses – in particular, the fixity of the (...) table of categories, the homogeneity of the forms of intuition and the rights of logical determinacy. It is left to Deleuze to radicalise Kant's critique along the lines of time. In contending with this fissure, Deleuze inaugurates nothing less than a truly genetic philosophy of Nature – one that would think with Nature rather than of it. Only one caught in this labyrinthine flow could inquire into the possibility of radical metamorphosis. (shrink)

The acoustic dimension of political philosophy has rarely attracted serious attention, in part because scholars have tended to assume that political theories, ideas, and concepts, exist as abstract entities that are often noiselessly communicated in written texts. And yet, the noisy communication of political ideas whether in the form of Socratic dialogues, Churchillian orations, or in the hushed tones of focus group conversations treasured by deliberative democrats today, has a rich political history and a continuing relevance. This paper will (...) focus on five performative modes for the communication of political ideas: the monologue, the dialogue, the oration, the interjection, and the noisy crowd. While this list may not be exhaustive, it will be used here as a starting point for further exploration. I will contend that in each of these performative modes, the communication of political ideas is framed by the noise of actual, or textually imagined kinds of political speech designed to underscore the validity of the ideas conveyed. One of the most important reasons for traversing this variable performative and acoustic terrain today is to enable us to hear and to listen to political speech amid the potentially polluting hum of political white noise. (shrink)

This book traces the profound impact of technical media on the sound of music, asking: how do media technologies shape sound? How does this affect music? And how did it change what we listen for in music? Based on the information theoretical proposition that all transmission channels introduce noise and distortion, the argument accounts for the fact that technologically reproduced music is inherently shaped by the technologies that enable its reproduction. The media archaeological assessment of this noise of (...) sound media developed in the book draws from a wide range of sources, both theoretical and historical, conceptual and technical. Together, they show that noise should not be understood as unwanted by-effect but instead plays a foundational role in shaping the sonic contours of technologically reproduced music. Over the course of five chapters, the book sketches a broad history of the problem of noise in sound recording, looks at specific analog and digital noise-related technologies, traces the ideal of sonic purity back to key developments in nineteenth century acoustics, and develops an analysis of the close interrelation between noise and the temporality of sound. This relation, it argues, is central to the way in which recorded sound and music resonate with listeners. Ultimately, this media specific analysis of the noise of sound media thereby greatly enriches our understanding of the way in which they changed and continue to change the sonorous qualities of music, thus offering a new perspective on the interaction between music, media and listeners. (shrink)

Scientists typically run experiments many times to find general patterns over multiple specific runs. The results of those runs vary, and the variance is often simply referred to as “noise”. We claim that it is highly important to separate the components that contribute to noise and to recognize to which degree they contribute to it. Consideration of the relative contributions of R (randomness), U (uncontrolled variables), and M (measurement error) helps to interpret data and can help to improve (...) experimental designs. We explain this using a hypothetical example and point out that assumptions of what causes variability in the results of experiments are often made implicitly. Further, we demonstrate our point by showing how it can change the interpretation of real data. Because of a lack of explicit discussion of underlying assumptions, it is possible that sources of noise are misidentified to be either existent or non-existent. This can happen if, for example, measurement error is assumed when there is none, an assumption that would mask a real effect that could deserve further study. Despite these factors, the contribution of different factors to the overall noise is rarely considered, hampering scientific progress. (shrink)

This essay attempts to provide additional motivation for the data/phenomena framework advocated in Bogen and Woodward, “Saving the Phenomena”.

This volume’s aim is to stimulate philosophical interest in the experience of noise. There are at least three important open questions about noise. First, how should the relationship between noise as a scientific phenomenon and as a type of experience be understood? Is the one to be understood in terms of the other, and what implications may be drawn from this? Second, are experiences of noise strictly limited to perceptual states or to one type of perceptual (...) state – for instance, to acoustic experiences? E.g. is there noise that is visual or tactile? Is there noise that is cognitive, affective, or evaluative? Third, how can philosophy make sense of noise in the first place? Should noise simply be relegated to the hither side of the explananda of philosophy, as the mere leftover of whatever philosophy sets out to account for; meaning, being, totality, etc.? Or may noise be understood as a positive phenomenon in its own right, which has its own distinctive features and content, difficult though they might be to pin down? This volume will contribute to the burgeoning philosophy of noise by highlighting how contemporary philosophical perspectives with a phenomenological or experiential bent – the latter under both broad and narrow construals – can make inroads to these questions about a fascinating yet little understood quarter of human experience. (shrink)

Anorexia Nervosa (AN) is a complex disorder characterised by self-starvation, an act of self-destruction. It is often described as a disorder marked by paradoxes and, despite extensive research attention, is still not well understood. Much AN research focuses upon the distorted body image that individuals with AN supposedly experience. However, based upon reports from individuals describing their own experience of AN, I argue that their bodily experience is much more complex than this focus might lead us to believe. Such research (...) often presents an overly cognitive understanding of bodily experience in AN, underplaying the affective, felt experience of individuals with AN, as well as descriptions of empowerment, strength and control reported in the early stages of AN. This paper seeks to enrich our understanding of bodily experience in AN as it progresses throughout the various stages of the disorder. I show how the classical phenomenological distinction between the body-as-subject and the body-as-object, as well as Leder’s conception of the visceral body, can inform our understanding of bodily experience in AN. I suggest that the project of self-starvation is an attempt to overcome the noisy demands of the visceral body, which are experienced as threatening the body-as-subject, through a process of objectifying the body-as-object. By cashing out AN as a project of radical bodily control that, tragically, comes to control the individual, we can capture important aspects of the bodily experience of AN and the temporal progression of the disorder. -/- . (shrink)

In this book, Diana Senechal confronts a culture that has come to depend on instant updates and communication at the expense of solitude. Schools today emphasize rapid group work and fragmented activity, not the thoughtful study of complex subjects. The Internet offers contact with others throughout the day and night; we lose the ability to be apart, even in our minds. Yet solitude plays an essential role in literature, education, democracy, relationships, and matters of conscience. Throughout its analyses and argument, (...) the book calls not for drastic changes but for a subtle shift: an attitude that honors solitude without descending into dogma. (shrink)

In a survey of information theory and some of its implications, Warren Weaver has proposed a distinction between engineering noise and semantic noise. Ordinary Spanish usage reflects this distinction quite neatly. If A speaks to B and B responds with no entiendo, it means ‘I have not heard your words, because of interfering sound or lack of attention; please transmit the same message again’; if he responds with no comprendo, it means ‘I heard you all right, but what (...) I heard doesn't make sense; please paraphrase or explain.’ Channel noise, thus, is the responsible factor when that which leaves a transmitter is not that which reaches the receiver; semantic noise is a discrepancy between the codes used by transmitter and receiver. (shrink)

I find myself ambivalent with respect to the line of argument that Schonbein offers. I certainly want to acknowledge and emphasize at the outset that Schonbein’s discussion has brought to the fore a number of central, compelling and intriguing issues regarding the nature of the dynamical approach to cognition. Though there is much that seems right in this essay, perhaps my view is that the paper invites more questions than it answers. My remarks here then are in the spirit of (...) scouting some of the surrounding terrain in order to see just what Schonbein’s claim is and what arguments or options may be open to the dynamicist. (shrink)

I will develop a new problem for almost all realist theories of colour. The problem involves fluctuations in our colour experiences that are due to visual noise rather than changes in the objects we are looking at.

Abstract:In this paper I begin to theorize what secondary school music education might look like “post-deconstruction.” In particular, I explore the argument for a reconsideration of the importance of conceptualization in the process of music education. I argue that is it through coming into contact with powerful conceptual knowledge that students’ potential to participate fully as capable musicians in their world is most likely to be realized. Conceptual knowledge provides the link between experience and the understanding of that experience. The (...) great paradox of postmodernism is that in opening up some possibilities we have subsequently closed others down. There is a danger that in placing the knower rather than knowledge at the center of our educational endeavors, we have reduced access to something extremely important: the dimensions of knowledge that hold the power for students to move beyond their experiences, to imagine, and conceptualize a different world. (shrink)

This interpretation of Zhuangzi's Dao, particularly in the "Qi Wu Lun," as "background noise" begins from Zhuangzi's question as to whether any human statements-and human language itself-can ultimately be distinguished from the "peeps of baby birds." The essay explores a tentative model of Dao that sees it as neither fully "linguistic" nor "non-linguistic" but as "pre-linguistic," the potential ground of emergence of words, statements, and meanings. To develop this model we turn to the notion of background noise in (...) physics, especially as discussed by Michel Serres in his discussion of chaos and information theory. A crucial feature of the Serresian chaos-theory model and also, it is suggested here, of Zhuangzi's Dao is the tendency of hyper-order to return (or switch) back to the initial state of disorder. (shrink)

One issue that is often ignored in political theory is the problem of means and modes of communication affecting dialogue between parties. In this age of hyper communication, this is something particularly relevant. The point here is that, despite the ease with which we have access to both means and modes of communication, there remains the problem of truly communicating and truly dialoguing with the Other. Michel Serres’ work Le Parasite is a seminal work on this issue. According to him, (...) in means and modes of communication, the parasite is an unwanted entity that interferes with what would otherwise be a clear connection between a sender and a receiver. But messages must pass through means and modes of communication, and this necessarily interferes with the message. The noise is therefore a constitutive feature of any form of communication. In this article, I assess the implications of Serres’ theory for Buber’s views on dialogue and for conflict resolution between individuals and communities in conflict. My discussion will be centred on informal education and will make reference to concrete instances of Anti-Semitism in the Middle-Eastern media, and how it affects relations between communities in the region. (shrink)

Noticing that, in The Second Sex, Simone de Beauvoir deftly describes patriarchy as a male sensorium encompassing vision, smell, touch, taste, and sound, this article focuses on the way feminist directors utilize sound in film and television. Three examples—Chantal Akerman’s 1968 Blow Up My Town, Emerald Fennell’s 2020 Promising Young Woman, and Michaela Coel’s 2020 I May Destroy You—show how feminist media showcases the white noise of patriarchy to reorient the ears of its audience to hear the way feminists (...) do. (shrink)

In recent years noise seems to have become an interdisciplinary concept par excellence, apt to capturing important dynamics at work whether in technological, scientific, social, or aesthetic domains. But when economists, biologists, psychologists, and musicians speak of noise, are they really all referring to the same thing? In An Epistemology of Noise Cecile Malaspina takes this dispersion of the notion of noise as a starting point, and moreover accepts that, when removed from its mathematical formulation in (...) information theory and spread into diverse disciplines, noise takes on a metaphorical ambiguity. Yet rather than aiming to eliminate this ambiguity, Malaspina sets out to account for it. The key problem in An Epistemology of Noise is not to identify the legitimate usage of the concept of noise, but rather to examine what happens when noise moves between disciplines, and what the ‘noisiness’ of this movement tells us about the conditions for interdisciplinary knowledge. Noise here is both an object (or many objects) of inquiry and a condition for that inquiry, and presents us with the problem of how knowledge can find its ground in these ‘shifting sands’ (9). (shrink)