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

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

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

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

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

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

Heidegger connected his name with the endeavor of renewing the question regarding Being (Seinsfrage). In BT (1927), he attempted to bring the issue of Being and everything concerning it back to the fore, by investigating the question of what the things themselves (die Sache selbst) are in its case. In this way, he managed to maintain his distance from the inherited and uninterpellated theories and speculations around "Being" (είναι). At the time, he continued to think that the precondition for arriving (...) at the very things themselves was—more or less—the phenomenological method that Husserl introduced in his breakthrough phenomenological opus, the Logical Investigations (1900-01). On this basis, in his "What is Metaphysics?” (1929) (WM). Heidegger explicitly maintained that the truth with regard to the issue of Being could and should be mediated—no matter how paradoxical this may sound—through the question regarding Nothing (Nichts). Parmenides, to be sure, had warned that nothing (μηδέν) is not, for that which is the έόν, and that only with what is can understanding (νοείν) and speaking (λέγειν) be correlated. The possibility of arriving at truths depends on propositions that say “is” with regard to what is, and “is not" with regard to what is not. Heidegger, however, thought that the most important issue for philosophy as ontology (but even for humans as beings engaged in praxis) was Nothing (Nichts)—and, moreover. Nothing as Being! But how could someone conceive of and bring to language these obviously limit subject matters? Haven’t we seen that Logic, following Parmenides' instruction, has progressively burked all talk of Being, and barred all talk about Nothing? (shrink)

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

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

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

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

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

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

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

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

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

A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures.

How is it that sounds from the mouth or marks on a page—which by themselves are nothing like things or events in the world—can be world-disclosive in an automatic manner? In this fascinating and important book, Lawrence J. Hatab presents a new vocabulary for Heidegger’s early phenomenology of being-in-the-world and applies it to the question of language. He takes language to be a mode of dwelling, in which there is an immediate, direct disclosure of meanings, and sketches an extensive (...) picture of proto-phenomenology, how it revises the posture of philosophy, and how this posture applies to the nature of language. Representational theories are not rejected but subordinated to a presentational account of immediate disclosure in concrete embodied life. The book critically addresses standard theories of language, such that typical questions in the philosophy of language are revised in a manner that avoids binary separations of language and world, speech and cognition, theory and practise, realism and idealism, internalism and externalism. (shrink)

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

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

The notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. In this way, (...) the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound. (shrink)

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

Can the straight line be analysed mathematically such that it does not fall apart into a set of discrete points, as is usually done but through which its fundamental continuity is lost? And are there objects of pure mathematics that can change through time? The mathematician and philosopher L.E.J. Brouwer argued that the two questions are closely related and that the answer to both is "yes''. To this end he introduced a new kind of object into mathematics, the choice sequence. (...) But other mathematicians and philosophers have been voicing objections to choice sequences from the start. This book aims to provide a sound philosophical basis for Brouwer's choice sequences by subjecting them to a phenomenological critique in the style of the later Husserl. "It is almost as if one could hear the two rebels arguing their case in a European café or on a terrace, and coming to a common understanding, with both men taking their hat off to the other, in admiration and gratitude. Dr. van Atten has convincingly applied Husserl's method to Brouwer's program, and has equally convincingly applied Brouwer's intuition to Husserl's program. Both programs have come out the better." Piet Hut, professor of Interdisciplinary Studies, Institute for Advanced Study, Princeton, U.S.A. (shrink)

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

In his "Hegel’s Phenomenology of Spirit," which includes his 1930-31 lectures on the "Phenomenology of Spirit," Heidegger states not only that Hegelian phenomenology “begins absolutely with the absolute,” but also that this phenomenological beginning is a necessary beginning of Hegel’s “system of science.” Although Heidegger acknowledges that the “proper” or “appropriate” beginning or “ground” of this system is the logical beginning (the beginning posited by Hegelian logic), he insists not only that there is also a second beginning (...) of the system, namely the one provided by the "Phenomenology of Spirit," but also that this beginning is necessary. Thus, Heidegger subscribes to the paradoxically-sounding thesis that Hegel’s system of science must have two beginnings. The present paper attempts, first, to flesh out this thesis (§§2-4), and, second, to uncover Heidegger’s argument for (or justification of) the claim that the phenomenological beginning is necessary to the Hegelian system of science (§§5-6). (shrink)

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

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

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

In the first in-depth philosophical study of the subject, Nicholas Gier examines the published and unpublished writings of Ludwig Wittgenstein, to show the striking parallels between Wittgenstein and phenomenology. Between 1929 and 1933, the philosopher proposed programs that bore a detailed resemblance to dominant themes in the phenomenology of Husserl and some “life-world” phenomenologists. This sound, thoroughly readable study examines how and why he eventually moved away from it. Gier demonstrates, however, that Wittgenstein’s phenomenology continues as (...) his “grammar” of the post-1933 works, which continue to present instructive parallels with Heidegger and Merleau-Ponty. (shrink)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

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

In manuscripts from 1929, Wittgenstein envisaged a phenomenological language as a means to describe the experience of objects, alternative to an account of experienced objects provided by ordinary language - but the project failed. The chapter addresses that failure and its significance to philosophical methodology. Wittgenstein acknowledges that the ideal of a non-hypothetical description of immediate experience tempted not only him, but also other philosophers. The chapter traces an itinerary to his concerns that the fulfilment of that ideal - to (...) purely describe a purified experience - would eventually lead into "a bewitched swamp where everything comprehensible vanishes" and would ultimately involve an "inarticulate sound with which many writers would like to begin philosophy". Wittgenstein perceives variations of that sound in Husserl, Heidegger, and the private language he later addresses. (shrink)

A culturally diverse historical record shows considerable evidence of a significant role for musical sound in healing processes. Very little of this information is used in contemporary medical practice. In part that is a function of paradoxical, inconclusive, and sometimes contradictory research results. Reviewed research literature is categorized as follows: physical healing, psychological healing, spiritual healing, and healing practices of indigenous peoples. The combination of ethnographic, descriptive and clinical data in the literature review demonstrates the complexity inherent to investigating (...) this topic. Most of the clinical research uses quantitative methodologies. Because of the diversity of musical sound, infinitely variable individual responsivity, and the variable significance of a variety of influences, quantitative studies about musical sound healing phenomena are only minimally revealing. It is suggested that whether or not a sound facilitates a healing response depends on how it is experienced. Further, how this happens as well as the distinction between sound and music is in large part a function of the meaning sound is given. This is the first study to examine in detail the meaning of such an experience. This study uses the phenomenological methodology developed by Giorgi to analyze four descriptive protocols detailing first-person responses to a question about musical sound-facilitated physical healing processes. The analysis results in a single general structure of the essential meaning of this experience revealing the relationships for each subject connecting an altered state of consciousness , spiritual awareness, cognitive understanding, history of related experiences and active, intentional choice. Despite their apparent individual differences all subjects used musical sound in ritualistic ways to facilitate an ASC which incorporated visual imagery and spiritual support. Half the subjects used music and sound for themselves, the other half participated in a sound-based ritual for the benefit of someone else. A phenomenological approach further provides a way to demonstrate the subtle interrelationships expressed by the ethnographic, descriptive and clinical data. Broad implications of the results of this study are discussed concluding with some directions for further research and a brief discussion on the value of a phenomenological approach to medical diagnosis and treatment. (shrink)

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

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

Drawing on Merleau-Ponty's recognition of a prepersonal stage and dimension of our embodied experience to carry forward his phenomenology of language, this essay elaborates the significance of Merleau-Ponty's phrase "singing the world" and gives new inspiration to the metaphysical longing for a revelation of the "origin" of language, displacing this "origin" from its mythic sites to let it be heard within our experience of speaking. This experience is both diachronic (stages) and synchronic (structural dimensions): first, our prepersonal attunement to (...) the soundings in our auditory field; second, our experience of speaking the inherited language; third, a recuperation of that first communicative attunement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Self and Its Body in Hegel’s Phenomenology of Spirit by John RussonRobert BermanJohn Russon. The Self and Its Body in Hegel’s Phenomenology of Spirit. Toronto: University of Toronto Press, 1997. Pp. xv + 199. Cloth, $60.00To intoduce his account of the human body, Russon places two epigraphs at the front of his book, one from Diogenes Laertius, the other from Artaud. The first tells of (...) Zeno, seeking the oracle’s counsel about how best to live and advised to “mix his flesh with corpses.” What sounds like a recommendation to practice necrophilia, Zeno cleverly interprets to mean that he ought to spend his life reading old books. The second likens culture to a new bodily organ, radicalizing Merleau-Ponty’s view that the blind man’s cane is an extension of his body. Diogenes’ anecdote and the surrealist’s aphorism extend the conception of the human body beyond its ordinary boundary. Literally, Artaud’s culture is no bodily organ, nor is Zeno’s hermeneutically active mind a body which, flouting the law, mixes with the corpus of ancient authors, and experiences, at one Phaedrus-like remove, forbidden pleasures of dialectics.If Russon is a Zenonic reader and Hegel an ancient, then his book enacts the oracle’s advice correctly spun. However, it is clear, despite its title, that this is not Russon’s only aim. At the outset Russon distinguishes his project from that of Hegel’s 1807 Phenomenology of Spirit (PS); whereas Hegel presents the experience of consciousness, Russon’s project is to develop a “phenomenology of the body” or “science of the embodiment of consciousness” (3), whose central concepts are the “three logical determinations of … phusis, hexis, and logos” (8). Despite this contrast, Russon claims to follow the method he takes Hegel to have adopted in PS, intending “by rigorous argument to comprehend … the human body” (3), to “display the self-development of the internal dynamism of the concept of the body” (4). Yet, while initially insisting on the difference between his and Hegel’s projects, he actually holds that PS is “implicitly” such a phenomenology of the body; hence, he wants to extract from it “the philosophy of the body that is there implied” (3) and to show how it rationally comprehends human embodiment. If making the implicit explicit describes the work of interpretation, then his book is as much an essay in Hegel interpretation as it is a self-standing phenomenology of the body. Russon mixes his interpretive with his Hegelian systematic aim, but these are distinct, and he grants the latter priority. If one rejects his interpretive claim about Hegel’s project, Russon’s systematic claims about the body should remain unaffected, and assessable in their own right, even if not implicit in PS. What are these claims?Russon’s central gambit is to understand the human body in terms of embodiment, and embodiment in turn via the activities of the self-conscious self. Since he argues that these activities essentially involve recognition, thus are inherently social, the “whole [End Page 636] functioning world of social, cultural life will have to be recognized as the body of the properly human self,” while the natural body “of mere human life” is “not yet the body of the human proper” (9). Accordingly, Russon organizes his systematic claims about the human body into three parts: A. treats propaedeutically the “Hegelian concept of self-conscious selfhood” (8), B. handles the body as social institution; and C. deals with the culminating “absolution of the body” in which the self knows itself in its embodiment as self-conscious self.Russon’s project prompts questions about his Hegel interpretation and his conception of the human body. PS is skeptical, but preparatory: its immanent critique of interrelated knowledge claims serves to expose and undermine the principle of the opposition of consciousness which they assume; acceptance of that principle, Hegel argues, is the chief obstacle blocking the way to systematic philosophical knowledge, precisely because it leaves philosophy defenseless against skeptical challenges to the very possibility of such knowledge. This construal of PS conflicts with Russon’s interpretive claim that it is implicitly a science of the... (shrink)