We explore the formal foundations of recent studies comparing aural pattern recognition capabilities of populations of human and non-human animals. To date, these experiments have focused on the boundary between the Regular and Context-Free stringsets. We argue that experiments directed at distinguishing capabilities with respect to the Subregular Hierarchy, which subdivides the class of Regular stringsets, are likely to provide better evidence about the distinctions between the cognitive mechanisms of humans and those of other species. Moreover, the classes of the (...) Subregular Hierarchy have the advantage of fully abstract descriptive (model-theoretic) characterizations in addition to characterizations in more familiar grammar- and automata-theoretic terms. Because the descriptive characterizations make no assumptions about implementation, they provide a sound basis for drawing conclusions about potential cognitive mechanisms from the experimental results. We review the Subregular Hierarchy and provide a concrete set of principles for the design and interpretation of these experiments. (shrink)

In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix (...) -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral. (shrink)

Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, (...) typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalising bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimised for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20-30 minute lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice. (shrink)

En este trabajo exponemos algunas categorías modales orientadas al estudio y comprensión de los sistemas autoorganizados que muestran complejidad. Para ello centramos nuestra investigación en el área de la ecología y, más en particular, en el ámbito de la ecología aural, es decir, en el estudio de los sonidos que componen los ecosistemas. Las categorías modales aquí desarrolladas son, por un lado, la «repertorialidad», referida a la coherencia y estabilidad interna de todo sistema autoorganizado; la «disposicionalidad» o experimentación y variación (...) inherente a estos sistemas y, finalmente, el «paisaje», que tiene en consideración lo realmente efectivo, lo dado. Este conjunto de categorías nos lleva a explorar el sistema modal de necesidad-contingencia-posibilidad-imposibilidad, el cual, aplicado a los estudios sonoros se convierte en el juego de señales-redundancia-ruido-silencio. Estas categorías, aplicadas a ejemplos en la naturaleza, nos ayudan a comprender el devenir inherente a todo ecosistema. Finalmente, descubrimos cómo la investigación categorial de los paisajes sonoros aporta información sobre el comportamiento evolutivo y el estado de conservación de estos sistemas. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article picks up an assumption presented by Berliner (1994), suggesting that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing with (...) imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural-imitation method draw on pedagogic experiences accumulated since 1979 in the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)

Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly in (...) the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

This essay examines the problem of medial specificity in music and sound art, giving particular attention to Seth Kim-Cohen’s call for a non-cochlear sound art based on the notion of “expansion” that has been decisive in visual arts discourses. I argue that Kim-Cohen’s non-cochlear intervention in In the Blink of an Ear might be productively pressured towards the concept of a “sonic effect” that acknowledges the material-discursive particularity of sound without recourse to the phenomenological claims of authenticity that Kim-Cohen correctly (...) abhors. In service of this argument, the essay extensively discusses a sound and media artwork – Exurbia, created by myself and William Brent – that leverages the metaphorics of sound against existing understandings of specific forms of network communication. I argue that the conceptual and material dimensions of the project stridulate in a hum of recursive vectors for considering the constitution and consequences of networked aural interaction. Exurbia can thus be parsed in terms of medial specificity precisely because its digital aural materials are themselves discursive. (shrink)

Using Jean-Luc Nancy's productive concept of resonant listening, this article interrogates silence in the films of Michael Haneke. Arguing for a kind of open, resonating and sonorous form of philosophic listening, Nancy articulates the distinctions among listening, hearing and understanding. Working from these concepts, this article considers the particular form of resonance in the instance of cinematic silence and in particular the use of silence in the philosophically engaged cinema of Haneke.

"The essence of literature may be compared to the various plants and trees," Liu Hseih writes, "alike in the fact that they are rooted in the soil, yet different in their flavor and their fragrance, their exposure to the sun."1 The character of each work is manifest in its unique savor and in its scent. In other works, the uniqueness of a work can be savored: texts may echo other works, but the personality of any work is instantaneously verified by (...) what Liu Hseih calls wei, flavor, and hsiu, fragrance. It is this uniqueness that persists and survives innumerable bad imitations, shifts in circumstances, lost phonetics, and changing styles. It is what remains fresh in the classics and enables the contemporary reader to feel a sense of discovery and newness. Liu Hseih says that of these lasting works that their "roots are deep, their foliage luxuriant, their expression succinct yet rich; the things described were familiar, but their ramifications are far-reaching: so, although they were written in the past, they have a lasting savor that remains fresh."2 · 1. Liu Hseih, Wen-hsin tiao-lung chu, ed. Fan Wen-lan , p. 519; Shih, The Literary Mind and the Carving of the Dragons , p. 232.· 2. Liu Hseih, p. 22; Shih, p. 24. Although the same Chinese word wei is used in this passage, I have translated it as "savor" to stress the combination of qualities inherent in a work rather than restrict these qualities to a single "flavor." Eugene Eoyang is an associate professor of comparative literature and of East Asian languages and literatures at Indiana State University. He has contributed over fifty translations to Sunflower Splendor: Three Thousand Years of Chinese Poetry and is the author of an anthology of Chinese fiction, Links in the Chain. (shrink)

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In (...) the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners’ awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. (shrink)

Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece of modern (...) aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel Sömmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes Müller, who invented the concept of "sense energies"; and Müller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von Békésy; political activist and philosopher Günther Anders; and Martin Heidegger. (shrink)

The Theology of Hathor of Dendera: Aural and Visual Scribal Techniques in the Per-Wer Sanctuary. By Barbara A. Richter. Brown University Department of Egyptology and Assyriology, Wilbour Studies, vol. 4. Atlanta: Lockwood Press, 2016. Pp. xxix + 543, illus. $145. [Distributed by ISD, Bristol, CT].

Taking its cue from two instances of hyper-local jazz sociability along one street in Mamelodi, five years apart, the focus of this article is on three instances of public memorialisation and, through them, on how listening can be socialised and enculturated. It is an exploration both of how sociality is co-constituted through listening, and of how listening is socially constructed, attending to how people become members of aural collectives in distinctive ways. It foregrounds how mostly working-class people living under conditions (...) seldom of their own making continue, in the avowedly postapartheid context, at least partially to remake their worlds sonically, foregrounding the public cultures that they thereby aurally co-create as a notable cultural expression in and of themselves. Methodologically, it considers how recourse to non-elite aesthetics, viewed as repertoires of living, offer alternatives to the claims of both ethnographies and social histories 'from below' to present 'the word' of the community' in an authoritative sense. (shrink)

How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social (...) relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects. (shrink)

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

In this article, I develop the concept and practice of ‘listening to difference,’ examining J.G. Herder’s aural theory of cultural diversity as primarily worked out in the ‘Treatise on the Origin of Language’ (1772). I examine the sources Herder critiqued to outline his aural theory of linguistic and cultural difference, which have thus far only been summarily mentioned if at all in scholarship despite the prominence of the ‘Treatise’ in intellectual history and philosophy. These sources comprise the travelogues of seventeenth- (...) and early eighteenth-century French scientists, mathematicians, diplomats, and Jesuit missionaries who described the inadequacy of Romanized orthography to accurately transcribe the sounds and pronunciations of the indigenous peoples they encountered throughout the Americas, Thailand, and China. Herder’s critical readings of travelogues showcased the unintended failures and interruptions in European colonial practices of listening. I argue that it was the French travellers’ failure to erase difference, to transform it into identity or, in other words, into a universalist monolingualism, which produced a consciousness of cultural and linguistic difference, even if repressed. The sounds of the spoken indigenous languages exposed the limits of the paradigms of Catholic and European linguistic classification. Instead, the exemplary technologies for preserving difference in scriptural and listening practices were for Herder the Hebrew alphabet and the oral transmission of poetry in ancient and Indigenous cultures. Listening to difference, as I define it, involves an openness to listening to the voices and sounds of the othered by listeners who recognize their distinct situated, embodied positionalities. It offers alternate possibilities to conceive of human diversity as continually in formation and not as a static or progressive hierarchy. (shrink)

Cette contribution revient sur le dialogue qui s’est développé depuis dix ans entre des chercheurs en Études théâtrales et des chercheurs en Sound Studies dans le cadre de deux projets successifs. Après avoir rappelé le contexte dans lequel a été élaborée la présente réflexion, précisé ce que j’entends ici par Sound Studies et donné quelques informations sur les Études théâtrales, je montrerai comment la relation intense que les secondes ont entretenue avec les premières a contribué à l’élaboration d’une véritable réécriture (...) de l’histoire du théâtre et comment les théâtrologues ont pu, en s’appuyant sur leur bases disciplinaires propres, opposer des approches critiques au modèle des Sound Students. (shrink)

The author points out to the rehabilitation of listening which occurs in Lyotard's philosophy in the field of his aesthetic analysis. The philosophical grasping of time and especially the instant is being explained in Lyotard through the listening mode and in invoking the aural experiences and the experiences of sound. The author suggests that the category of listening is often used in place of the category of aesthetic and as metaphor of the aesthetic perception. In contrast to seeing, listening can (...) be undertaken together with other sensual experiences and thus it allows for a more polyphonic experience. Listening, author maintains, is a very special type of experience, on one hand it is open and welcoming, on the other discrete and prone to solitude, qualitatively changing its course. (shrink)

Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not.

Our cultural climate is increasingly dependent upon visual space. Media and communication for the most part are exemplified through television and the Internet. Aural space has, for the moment, become an ambient presence. The aim of this article is to develop a phenomenological approach to interpreting our sonic environment by drawing upon a range of sound-scape theorists. I will, in some cases, provide a counter-argument to established theses, and in doing so endeavour to open up fresh debate for future sonic (...) enterprises. (shrink)

This chapter aims to deepen Donald Schön’s insight about jazz playing as an example of what he calls “reflection-in-action” (RiA) by situating this notion within the enactive view of humans as linguistic bodies. Our main claim is that the knowl-edge or skills displayed by expert jazz musicians must be understood as aural and communicative in nature. After presenting the notions of RiA and linguistic bodies, we develop our view through a critical discussion of four statements from Schön’s passage on jazz (...) musicianship, before wrapping up and clarifying the position we are advocating. This way, we suggest a revised version of Schön’s concept, which we call “reflection in communicative jazz action.". (shrink)

New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.

The oral/aural power of the Bible has been strangely neglected within the worship life of the church as well as in recent biblical scholarship. In order to recover the Bible's power to take captive the imagination of readers and interpreters, we must once again attend to the public reading, or performance, of the Bible.

Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...) of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)

The field of distributed cognition has been accused of being overly concerned with the “dogma of harmony,” valuing smoothness and success and neglecting moments of failure, contingency, noise, and chaos. This paper examines this proposition through a historical case study. Performances, whether theatrical or cinematic, depend upon deploying powerful cognitive, affective and symbolic technologies, tools that can that at times elude or escape full control. I ask whether the use of such technologies—including verbal, gestural, visual (lighting, cinematic technologies such as (...) the close-up and montage); aural (song, music, score); material (costumes, props)—can at times work against the aims and interests of both creators and audiences. My case study is the question of chauvinism and pro-war sentiment in productions of Henry V. (shrink)

In this article, I investigate the linguistic practices by which participants in online dating chats become authentic gendered and sexual beings in the virtual world. This process of authentication validates them as members of a specific gender or sexual group, which is a key prerequisite for engaging in the intricacies of online desire and eroticism. Authentication in this context is necessarily a discursive act because of the absence of visual or aural cues, and it takes place through linguistic strategies such (...) as the age/sex/location schema, descriptions of the self, and screen names. The resulting gender and sexual identities are sketches or stereotypes whose value derives from the acceptance of social and cultural discourses on gender and sexuality that are negotiated in the interactions. Authentication, therefore, is not an external process imposed upon people, but the result of specific social practices. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

Seeing with Ears, Hearing with Eyes. How Technology Molds Synesthesia Within Us -/- The subject of consideration within this lecture is the contribution of existing scientific discoveries on the visual and musical connection within the perceptual plane. Points of reference are the studies of Amir Amedi, Jacob Jolij and Maaieke Meurs, Harry McGurk, as well as, the works of Iwona Sowińska, Roger Scruton, Oliver Sacks, and a cultural analysis of Joshua Bell’s performance. I will also consider how the senses effect (...) each other, pursuing the diversified reception of vision, which consists of the sense of hearing [sic!], on which I would like to focus attention. -/- Paper structure:  Introduction to key concepts in the fields of research and development,  The visual outlook on hearing,  The aural perspective on vision,  Relationships to related sciences,  Summary of multimedia examples,  An attempt to extend the “techno-view” to the auditory senses within synesthesia. (shrink)

This work presents a semiotic perspective of aspects of a soundscape evaluation of the city, Supino located in the Province of Frosinone in the Italian region of Lazio. The data and sound sample collection was accomplished through the soundwalk technique undertaken by students of Çankaya University, School of Architecture during the ‘Third International Summer School in Supino’ 17–24 August 2014. For the soundscape evaluation, three zones were identified in Supino as urban, suburban, and intersection. A total of nine samples across (...) three zones were collected during three different times in a day by soundwalks from the areas located in the identified zones. A theoretical model of semiotic interpretations of soundscapes has been proposed and applied for the analysis of Supino’s soundscape. The results showed that the soundscape of Supino differs according to its cultural, habitual, and anthropological tendencies. In addition, the semantic analysis shows that the soundscape composition of the sound sources in the three zones varies by the change of time, sound composition and sources, topography, and settlement of the city. (shrink)

No Íon, a autoridade e a sabedoria de poetas e rapsodos são confrontadas por meios indiretos. O caráter oblíquo dessa estratégia impede o acesso direto ao conteúdo do diálogo e provoca inúmeros equívocos de leitura. Um fato contextual estimula mais ainda leituras equivocadas. A poesia tratada no Íon difere muito da forma como nós, modernos, a entendemos. Na Antiguidade grega, de base aural, a poesia era o modo privilegiado de conservação da tradição herdada, e permaneceu exercendo essa função capital até (...) mesmo quando a escrita passou a desempenhar papel relevante na forma de composição e transmissão cultural. Neste contexto, o rapsodo representa uma autoridade que cobre praticamente todos os campos do saber. Autoridade enciclopédica, contra a qual Platão travou uma guerra não sem ambiguidades. O presente artigo busca revelar a motivação profunda que anima o Íon: a contraposição entre dois modos de comunicação, o da poesia e o da filosofia. Defende, ainda, que Platão, ao atacar a performance poética, busca, além de rejeitá-la, substituí-la pelo élenkhos socrático como modo de comunicação ideal para instrução e guia da vida humana. (shrink)