Αποτελέσματα Αναζήτησης
I first elucidate the qualitative and quantitative nature of sound, explaining the ideality and negativity of sound, the temporality and hylomorphic form of sound, the propagation of sound, the causal sources of sound, and the mechanical nature of sound.
The article explores the dimensions of representational sound, soundscape, and sound installation, thereby broadening the scope of inquiry within the field of sound studies. Keywords: music, philosophy of sound, sound studies, soundscape, ontology of sound, cinematography.
sound is certainly grounded on sensory bases, sounds are mostly considered as audible things, and those who consider audibility as an essential character of sounds are also ready to consider sounds as subjective qualities. The strong version of this thesis identifies sounds with acoustic sensations (this is a commonplace for the
14 Ιουλ 2005 · Sounds enter the content of auditory perception. But what are they? Are sounds individuals? Are they events? Are they properties of sounding objects? If they are events, what type of event are they? What is the relation between sounds and sounding objects?
One of the central questions in the philosophy of sounds and hearing is the question of space: what spaces or locations, if any, do sound perceptions make one aware of? When I hear a sound, do I perceive the direction of the sound? The direction (or distance) of the sound's source?
Sounds are public objects of auditory perception. By ‘object’ I mean only that which is perceived—that which is available for attention, thought, and demonstrative reference. Two listeners in a room may hear and talk about the same sound, and all in attendance may hear the sound of the same speech.
Does a philosophy reflect its own tonality and is there a sense in which the voice – as meaningful sound - can be distinguished and even perhaps perceived to be saying something else, something slightly or totally different, than the main propositional content of the utterance it carries?
