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  1. 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.

  2. 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

  3. 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?

  4. 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.

  5. 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?

  6. 7 Ιαν 2003 · Abstract. Our standard view about sound is incoherent. On the one hand, we suppose that sound is a quality, not of the object that makes the sound, but of the surrounding medium. This is the supposition of our ordinary language, modern science and a long philosophical tradition.

  7. 1 Οκτ 2007 · It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception.

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