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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.
From this analytical sketch emerges a provisional threefold definition of sound which tentatively suggests (1) that the term includes the entire spectrum between isolated sine waves and unpitched noises of maximal spectral complexity, (2) that there is no viable distinction between musical and non-musical sounds as it is not the property of an ...
1 Νοε 2007 · Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O'Callaghan...
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.
The basic starting point is here, how to think sound in itself, a fundamental question in 20th and 21st century music and sound art. I argue for a dialectical materialism of sound which I set off against a Deleuzian materialism of sound developed by the philosopher Christoph Cox.
Together with Bernd Herzogenrath, we can define the sonic thinking that we are trying to partially map with this issue as follows: “a thinking with and by means of sound, not a thinking about sound, which eventually does not deal with the question what music is, but rather what music can become.
1 Οκτ 2007 · This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities...
