Aims and hypothesesIn an environment of absolute silence, researchers have found many of their participants to perceive phantom sounds. With this between-subject experiment, we aimed to elaborate on these research findings, and specifically investigated whether–in line with the fear-avoidance model of tinnitus perception and reactivity–fear or level of perceived threat influences the incidence and perceptual qualities of phantom sound percepts in an anechoic room. We investigated the potential role of individual differences in anxiety, negative affect, noise sensitivity and (...) subclinical hearing loss. We hypothesized that participants who experience a higher level of threat would direct their attention more to the auditory system, leading to the perception of tinnitus-like sounds, which would otherwise be subaudible, and that under conditions of increased threat, narrowing of attention would lead to perceptual distortions.MethodsIn total, N = 78 normal-hearing volunteers participated in this study. In general, the study sample consisted of young, mostly female, university students. Their hearing was evaluated using gold-standard pure tone audiometry and a speech-in-noise self-test, which is a sensitive screening test to identify subclinical hearing loss. Prior to a four-minute stay in an anechoic room, we randomized participants block design-wise in a threat and no-threat condition. Participants in the threat condition were deceived about their hearing and were led to believe that staying in the room would potentially harm their hearing temporarily. Participants were asked whether they perceived sounds during their stay in the room and rated the perceptual qualities of sound percepts. They were also asked to fill-out standardized questionnaires measuring anxiety, affect and noise sensitivity. The internal consistency of the questionnaires used was verified in our study sample and ranged between α = 0.61 and α = 0.90.ResultsIn line with incidence rates reported in the literature, 74% of our participants reported having heard tinnitus-like sounds in the anechoic room. Speech-in-noise identification ability was comparable for both groups of participants. The experimental manipulation of threat was proven to be effective, as indicated by significantly higher scores on a Threat Manipulation Checklist among participants in the threat condition as compared to those in the no-threat condition. Nevertheless, participants in the threat condition were as likely to report tinnitus percepts as participants in the no-threat condition, and tinnitus percepts were not rated as being louder or more unpleasant as a function of level of threat. For participants who did experience tinnitus percepts, a higher level of threat was associated with a higher degree of experienced unpleasantness. These associations were absent in those who did not experience tinnitus. Higher negative affect was only slightly associated with higher ratings of tinnitus unpleasantness.ConclusionWhereas our threat manipulation was successful in elevating the level of fear, it did not contribute to a higher percentage of participants perceiving tinnitus-like sounds in the threat condition. However, higher levels of perceived threat were related to a higher degree of perceived tinnitus unpleasantness. The findings of our study are drawn from a rather homogenous participant pool in terms of age, gender, and educational background, challenging conclusions that are applicable for the general population. Participants generally obtained normophoric scores on independent variables of interest: they were low anxious, low noise-sensitive, and there was little evidence for the presence of subclinical hearing loss. Possibly, there was insufficient variation in scores to find effects. (shrink)

Although acoustic frequency is not a spatial property of physical objects, in common language, pitch, i.e., the psychological correlated of frequency, is often labeled spatially (i.e., “high in pitch” or “low in pitch”). Pitch-height is known to modulate (and interact with) the response of participants when they are asked to judge spatial properties of non-auditory stimuli (e.g., visual) in a variety of behavioral tasks. In the current study we investigated whether the modulatory action of pitch-height extended to the haptic (...) estimation of height of a virtual step. We implemented a HW/SW setup which is able to render virtual 3D objects (stair-steps) haptically through a PHANTOM device, and to provide real-time continuous auditory feedback depending on the user interaction with the object. The haptic exploration was associated with a sinusoidal tone whose pitch varied as a function of the interaction point’s height within (i) a narrower and (ii) a wider pitch range, or (iii) a random pitch variation acting as a control audio condition. Explorations were also performed with no sound (haptic only). Participants were instructed to explore the virtual step freely, and to communicate height estimation by opening their thumb and index finger to mimic the step riser height, or verbally by reporting the height in centimeters of the step riser. We analyzed the role of musical expertise by dividing participants into non musicians and musicians. Results showed no effects of musical pitch on high-realistic haptic feedback. Overall there is no difference between the two groups in the proposed multimodal conditions. Additionally, we observed a different haptic response distribution between musicians and non musicians when estimations of the auditory conditions are matched with estimations in the no sound condition. (shrink)

Phantom limb experiences demonstrate an unexpected degree of fragility inherent in our self-perceptions. This is perhaps most extreme when congenitally absent limbs are experienced as phantoms. Aplasic phantoms highlight fundamental questions about the physiological bases of self-experience and the ontogeny of a physical, embodied sense of the self. Some of the most intriguing of these questions concern the role of mirror neurons in supporting the development of self–other mappings and hence the emergence of phantom experiences of congenitally absent (...) limbs. In this paper, we will examine the hypothesis that aplasic phantom limb experience is the result of an ontogenetic interplay between body schemas and mirror neuron activity and that this interplay is founded on embedding in a social context. Phantom limb experience has been associated with the persistence of subjective experience of a part of the body after deafferentation through surgical or traumatic removal. We maintain that limited association is inconsistent with the extent to which phantom limb experience is reported by aplasic individuals. (shrink)

This paper brings neuroscientific experiments into relation with concepts from phenomenological philosophy to investigate phantom sensations from the perspective of embodied subjectivity. Using a mirror device to create intersensory effects in subjects experiencing phantom sensations, one can create illusions aiming at alleviating phantom pain. Neuroplasticity as a general property of the brain and cortical remapping as a specific mechanism underlying the success of this procedure are interpreted with the phenomenological notions of body image, body schema, and body (...) memory. It is argued that a phantom can be understood as an ambiguous unity of body-imagistic neglect and body-schematic remembering. This neurophenomenological approach highlights the significance of the polarity of subjective-objective embodied experience one the one hand, and the spatial and temporal horizons of the emergence of phantoms on the other. Thereby, implicit and explicit forms of remembering, habitual and reflective modes of behavioural and cognitive self-representation and -understanding can be compared according to how the body integrates its various sensations. (shrink)

Several authors have recently argued that the content of pains (and bodily sensations more generally) is imperative rather than descriptive. I show that such an account can help resolve competing intuitions about phantom limb pain. As imperatives, phantom pains are neither true nor false. However, phantom limb pains presuppose falsehoods, in the same way that any imperative which demands something impossible presupposes a falsehood. Phantom pains, like many chronic pains, are thus commands that cannot be satisfied. (...) I conclude by showing that some of the negative psychological consequences of chronic pain are a direct consequence of their imperative nature. (shrink)

Auditory stimulation training (AST) has been proposed as a potential treatment for chil-dren with specific language impairments (SLI). The current study was designed to test this as-sumption by using an AST with technically modulated musical material (ASTM) in a random-ized control group design. A total of 101 preschool children (62 male, 39 females; mean age = 4.52 years, SD = 0.62) with deficits in speech comprehension and poor working memory ca-pacity were randomly allocated into one of two treatment groups (...) or a control group. Children in the ASTM group (n = 40) received three 30-minute sessions per week over 12 weeks, whereas children in the comparison group received pedagogical activities during these intervals (n = 24). Children in the control group (n = 37) received no treatment. Working memory, phoneme dis-crimination and speech perception skills were tested prior to (baseline) and after treatment. Chil-dren in the ASTM group showed significantly greater working memory capacity, speech per-ception, and phoneme discrimination skills after treatment, whereas children in the other groups did not show such improvement. Taken together, these results suggest that ASTM can enhance auditory cognitive performance in children with SLI. (shrink)

This essay begins with the impossibility of thinking back, or at least of conscious memory, and the need to fix on a fragment, before unconscious memory may emerge as inscription. I then follow the intuition of a link, contained in the cover image of Malcolm Bowie's book Freud, Proust, Lacan: Theory as Fiction, between fictions which theorize and the apparition of the feminine as a haunting incompleteness. It is suggested that such apparitions may be read — like the image in (...) Plato's chora, as read by Pierre Fédida — as a surviving trace, hovering phantom-like between reminiscence and existence. As such, the image might be seen not only as the impensé of theory, producing in texts auratic moments which condense signifiers of present encounter and lost memory trace, but furthermore as the unthinkable feminine negative of masculine pursuit, returning us quite simply to a nodal point of silent gazing. (shrink)

The aim of this paper is, firstly, to identify the areas of conceptual confusion about the notion of auditory object that could benefit from a cooperation between philosophy and psychology of perception. Secondly, I try to clarify in what sense there may be individual entities that exist only in time focusing on auditory objects, and to establish what kind of relationship links the existence of such purely temporal entities with the existence of spatiotemporal entities such as bodies or (...) physical objects. Finally, a new definition of auditory object, conceived as a partially mind-dependent object, or Meinongian higher-order object based on inferiora, is discussed. (shrink)

Previous studies of auditory expectation have focused on the expectedness perceived by listeners retrospectively in response to events. In contrast, this research examines predictive uncertainty —a property of listeners' prospective state of expectation prior to the onset of an event. We examine the information-theoretic concept of Shannon entropy as a model of predictive uncertainty in music cognition. This is motivated by the Statistical Learning Hypothesis, which proposes that schematic expectations reflect probabilistic relationships between sensory events learned implicitly through exposure. (...) Using probability estimates from an unsupervised, variable-order Markov model, 12 melodic contexts high in entropy and 12 melodic contexts low in entropy were selected from two musical repertoires differing in structural complexity (simple and complex). Musicians and non-musicians listened to the stimuli and provided explicit judgments of perceived uncertainty (explicit uncertainty). We also examined an indirect measure of uncertainty computed as the entropy of expectedness distributions obtained using a classical probe-tone paradigm where listeners rated the perceived expectedness of the final note in a melodic sequence (inferred uncertainty). Finally, we simulate listeners' perception of expectedness and uncertainty using computational models of auditory expectation. A detailed model comparison indicates which model parameters maximize fit to the data and how they compare to existing models in the literature. The results show that listeners experience greater uncertainty in high-entropy musical contexts than low-entropy contexts. This effect is particularly apparent for inferred uncertainty and is stronger in musicians than non-musicians. Consistent with the Statistical Learning Hypothesis, the results suggest that increased domain-relevant training is associated with an increasingly accurate cognitive model of probabilistic structure in music. (shrink)

The evolutionary theory of artefact proper function holds that an artefact’s proper function is that effect which explains the reproduction of past instances of the artefact type. This theory has many sources but received its clearest presentation in Beth Preston’s essay “Why Is a Wing Like a Spoon?”. More recently, Preston has raised an objection to the theory, based on the phenomenon of ‘phantom functions’: these are functions that an artefact type is unable to perform, but which nonetheless apparently (...) constitute its proper function. Deflecting qi energy, for example, is the proper function of feng shui mirrors, even though no feng shui mirror is able to do this. Preston concludes that the existence of phantom functions refutes the evolutionary theory of artefact proper function. In this paper, the evolutionary theory is defended, by arguing that it can adequately account for phantom function cases. (shrink)

We present one of the first quantitative studies on auditory verbal experiences and auditory verbal agency voices or characters”) in healthy participants across states of consciousness. Tools of quantitative linguistic analysis were used to measure participants’ implicit knowledge of auditory verbal experiences and auditory verbal agencies, displayed in mentation reports from four different states. Analysis was conducted on a total of 569 mentation reports from rapid eye movement sleep, non-REM sleep, sleep onset, and waking. Physiology was (...) controlled with the nightcap sleep–wake mentation monitoring system. Sleep-onset hallucinations, traditionally at the focus of scientific attention on auditory verbal hallucinations, showed the lowest degree of VE and VA, whereas REM sleep showed the highest degrees. Degrees of different linguistic-pragmatic aspects of VE and VA likewise depend on the physiological states. The quantity and pragmatics of VE and VA are a function of the physiologically distinct state of consciousness in which they are conceived. (shrink)

It might be suggested that in auditory experience elements of the material world are not apparent to us in the way they are in vision and touch, and that this constitutes a shortcoming in the kind of cognitive contact with the world provided by auditory perception. I develop this suggestion, and then set out a way of thinking about the appearances of sound-producing events that might provide a response.

The sense of agency is the perception of willfully causing something to happen. Wegner and Wheatley proposed three prerequisites for SA: temporal contiguity between an action and its effect, congruence between predicted and observed effects, and exclusivity . We investigated how temporal contiguity, congruence, and the order of two human agents’ actions influenced SA on a task where participants rated feelings of self-agency for producing a tone. SA decreased when tone onsets were delayed, supporting contiguity as important, but the order (...) of the agents’ actions also mattered. Relative contiguity was the main determinant of SA, as delayed tones were usually attributed to the most recent action. This was unaffected by contingencies between the two actors’ actions , showing that contiguity has a powerful influence on SA, even during joint action in the presence of other cues. (shrink)

The perception of sensory effects generated by one’s own actions is typically attenuated compared to the same effects generated externally. However, it is unclear whether this specifically relates to self-generation. Recent studies showed that sensory attenuation mainly relies on action preparation, not actual action execution. Hence, an attenuation of sensory effects generated by another person might occur if these actions can be anticipated and thus be prepared for.Here, we compared the perceived loudness of sounds generated by one’s own actions and (...) actions of another person that either could or could not be anticipated. We found an attenuation of the perceived loudness for self- as compared to other-generated sounds. This difference was independent of whether the sound-eliciting actions of the other person could be anticipated or not. Thus, sensory attenuation seems to be specifically tied to self-generation instead of being a secondary effect of agent-independent preparation for an upcoming action. (shrink)

Analogies of grief to amputation and phantom limb are common in memoirs and literary accounts of loss.1 Consider, for example, C. S. Lewis's response to the suggestion that he will "get over" the loss of his wife, in A Grief Observed: Getting over it so soon? But the words are ambiguous. To say the patient is getting over it after an operation for appendicitis is one thing; after he's had his leg off it is quite another. … There will (...) be hardly any moment when he forgets it. … His whole way of life will be changed. … At present I am learning to get about on crutches. Perhaps I shall presently be given a wooden leg. But I shall never be a biped again.2 As Matthew Ratcliffe has argued, though such references may... (shrink)

Title: The Phantom Public Sphere Publisher: University of Minnesota Press ISBN: 0816621268 Author: Bruce Robbins Title: Intellect and Public Life: Essays on the Social History of Academic Intellectuals in the United States Publisher: The Johns Hopkins University Press ISBN: 0801844339 Author: Thomas Bender.

Auditory scene analysis is critical for complex auditory processing. We study auditory segregation from the neural network perspective, and develop a framework for primitive auditory scene analysis. The architecture is a laterally coupled two‐dimensional network of relaxation oscillators with a global inhibitor. One dimension represents time and another one represents frequency. We show that this architecture, plus systematic delay lines, can in real time group auditory features into a stream by phase synchrony and segregate different (...) streams by desynchronization. The network demonstrates a set of psychological phenomena regarding primitive auditory scene analysis, including dependency on frequency proximity and the rate of presentation, sequential capturing, and competition among different perceptual organizations. We offer a neurocomputational theory—shifting synchronization theory—for explaining how auditory segregation might be achieved in the brain, and the psychological phenomenon of stream segregation. Possible extensions of the model are discussed. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world in (...) its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Phantom Mediators: Reflections on the Nature of the Violence in AlgeriaRéda Bensmaïa (bio)Translated by Hassan MelehyIn order to justify himself, each person depends on the crime of the other. There is a casuistry of blood where an intellectual, it seems to me, has no place, except to take up arms himself. When violence responds to violence in an exasperating delirium that makes the simple language of reason (...) impossible, the role of intellectuals cannot be, as we read every day, to excuse from afar one act of violence and condemn another, which has the effect both of angering the one condemned of violence to the point of rage and of encouraging the one who is not condemned to more violence. If they themselves don’t join the combatants, their role (a more obscure one, to be sure!) must be only to work in the direction of an appeasement so that reason may again have a chance.—Albert Camus, Actuelles IIIAt a secondhand bookstore in Santa Monica, I found a story by Friedrich Torberg: “Mein ist die Rache” (“Vengeance is Mine”). The author describes the sadistic practices of a concentration-camp commandant in 1943 who drives a group of Jewish prisoners to commit suicide one after the other. It is almost unbearable to read. One reader, apparently an emigré German Jew, added some bitter marginal notes after the war. On the last page this reader penciled in, “America is full of Jews who love Germany and long for it.”The night after I read this book, a question occurred to me that has stayed on my mind ever since and that I want to pass on to you: What would we all give, each one of us, each individual German, for this not to have happened? It’s a”pan-German” question. Perhaps we will know something more about ourselves if each one of us tries to answer it individually, as honestly and above all as concretely as possible. And doesn’t it lead to three other questions that are worrying us?: What was? What remains? What will be?—Christa Wolf, “Parting from Phantoms”A few weeks after reading Christa Wolf’s text, the same questions continue to haunt me. “Pan-Maghrebian” questions: what would we be willing to give, each one of us, each Algerian in any case, for what is happening now never to have occurred?What was? What remains? What will be? These are the questions that have guided me in the different steps of writing the text I offer here.In the very fine article he contributed under the heading of “The Intellectual and Society” to the Encyclopaedia Universalis, philosopher François Châtelet wrote, “If we confine ourselves to the three historical groups we have arbitrarily taken as examples—the Greek sophist, the ‘judge’ of the Russell Tribunal, and the eighteenth-century philosopher, it is clear that the would-be intellectual claims to be the teacher and the advocate of political [End Page 85] freedom, of the rights of the person, the architect of a transparent society in which the individual and the citizen coincide.“Doubtless,” added Châtelet, “one aspect or another prevails on him, according to the circumstances; but a certain structure subsists, which may allow us to define, superficially and differentially, intellectuals as a group and an agency” [my emphasis].Beginning with this definition, I would like to examine the following questions: What is the status of intellectuals in a country like Algeria? How can it be explained that they have been and still are the victims of the violence that strikes them today?Given the current situation of international politics, the example of Algeria is inevitable, because in the opinion of numerous analysts what is happening in that country is a test case, a limit case that may serve as an indicator of what the future holds for the formerly colonized countries. For many analysts, the evolution of the political situation in Algeria may also serve as an analytical operator in the large ideological movements that are shaking not only the countries of the Maghreb but also the Arab-Muslim world in its totality. And in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.3 (2000) 73-89 [Access article in PDF] Phantom Rights Conversations Across the Abyss (Hugo, Blanchot) Suzanne Guerlac —"The writer must save the world and be the abyss, justify existence and give speech to what does not exist...."1—Who is speaking?—Maurice Blanchot.—But this was already revealed to me by the Tables. How are what you call the "two sides [deux versants]" of literature to be distinguished from the "double (...) ray [double rayon]" or the "double face" of the work of art, revealed to me by the voice of Death through the table—through the Winds of the Tomb—and which I recognized as the double furrow of the real and the ideal I had always inscribed through my writing?—What is in question at this point is not merely approaches to literature, or the mechanisms of what you call "genius," but literature itself, and with it, the very operations of the human mind. I asked the question "how is literature possible?" in response to Paulhan in 1942.2 A few years later the question returned differently: is literature possible... after Auschwitz?I have responded to the discourse of the death of art with a notion of writing as an art of death. Is this somehow the same as what the Winds of the Tomb revealed to you? Who knows? You have been dead for more than a century, I have been dying for what seems like ages. 1 "I wrote a book... of the cut off head... I stopped at the point where only you can continue."3 Victor Hugo is speaking, alluding to Le dernier jour d'un condamné, a novel written in a first-person voice which cuts off just before the guillotine drops. His remark acknowledges the commonplace that one cannot speak one's own death, not only because one does not live to tell it, but because one never really experiences it. Another literary figure to have given this matter a lot of thought (along with his friend Georges Bataille) is Maurice Blanchot, whose meditations on writing insist on questions of death and voice.In Hugo's remark, however, it is above all the address that arrests our attention and tempts us to engage Hugo in conversation with Blanchot. Hugo is speaking to André [End Page 73] Chénier, or rather to the spirit of Chénier, which ostensibly communicates to participants in séances conducted in Jersey in 1853-54 under the guidance of the celebrated psychic Mme. de Girardin. He addresses the voice of a dead poet, an absent voice that can only speak through a peculiar form of writing that spells out letters one by one through the tappings of a table. It is a voice that writes since it can no longer speak, having lost its head to the guillotine during the French Revolution. During the séances, Hugo asks Chénier to recount the experience of his death. Is it because Chénier is in the unusual position of speaking from beyond the grave that Hugo expects him to do the impossible, to go beyond the silenced voice of the condemned man, that is, beyond the reach of fiction? How are we to read this writing of the Tables, and what does it have to do with "literature"?The transcript dramatizes fundamental notions concerning writing, death, and relations between the two that Blanchot will theorize a century later in his critical writings. Here, Hugo demands Chénier's impossible account of his own death specifically in response to a demand of writing. What is at stake is not only the continuation of the narrative necessarily aborted in Hugo's novel —"I stopped at the point where only you can continue"—but also the continuation of the poetry of Chénier, interrupted by the poet's untimely death. Responding to Chénier's expressed concern, Hugo and his companions offer to assist Chénier in the completion of his poems. "André," Hugo begins:You desire, and we also desire, to see your oeuvre completed. We will gather piously, and with the respect due your... (shrink)

This article brings together two concepts, ‘phantom fat’ and ‘liminal fat’, which both aim to grasp how fat in contemporary culture becomes a kind of material immateriality, corporeality in suspension. Comparing the spheres of representation and experience, we examine the challenges and usefulness of these concepts, and feminist fat studies perspectives more broadly, to feminist scholarship on the body. We ask what connects and disconnects fat corporeality and fat studies from ways of theorising other embodied differences, like gender, ‘race’, (...) disability, class and sexuality, especially when thinking through their perceived mutability or removability, and assumptions about their relevance for subjectivity. While it is important to consider corporeality and selfhood as malleable and open to change in order to mobilise oppressive normativities around gendered bodies and selves, we argue that more attention should also be paid to the persistence of corporeality and a feeling of a relatively stable self, and the potential for empowerment in not engaging with or idealising continuous transformation and becoming. Furthermore, we suggest that the concepts of phantom fat and liminal fat can help shed light on some problematic ways in which feminist studies have approached – or not approached – questions of fat corporeality in relation to the politics of health and bodily appearance. Questions of weight, when critically interrogated together with other axes of difference, highlight how experiential and subjugated knowledges, as well as critical inquiry of internal prejudices, must remain of continued key importance to feminist projects. (shrink)

Cognitive Science, Volume 46, Issue 2, February 2022.

In the article, I propose that the body phantom is a phenomenal and functional model of one’s own body. This model has two aspects. On the one hand, it functions as a tacit sensory representation of the body that is at the same time related to the motor aspects of body functioning. On the other hand, it also has a phenomenal aspect as it constitutes the content of conscious bodily experience. This sort of tacit, functional and sensory model is (...) related to the spatial parameters of the physical body. In the article, I postulate that this functional model or map is of crucial importance to the felt ownership parameters of the body (de Vignemont 2007), which are themselves considered as constituting the phenomenal aspect of the aforementioned model. (shrink)

The visible human body is composed of _flesh and bones_ for the most part, yet an invisible orchestra of sensations and perceptions creates a virtual or _phantom body_ that behaves like a shadow following every movement and gesture of its anatomical complement. This shadow becomes only “visible” to the individual when bodily integrity is affected, anatomically or cognitively. _Phantom limbs_ have been known for a long time. They refer to the felt presence of a missing hand, leg, or other body (...) part as if it was still in place. Reciprocally and of a supposedly cognitive origin, phantom extremities are reported by some patients that feel the virtual presence of a supernumerary limb – signifying anatomical “overcompleteness.” However, other patients feel as one of their limbs does not belong to their body – signifying “foreignness”. Various shades of the so-called _body integrity identity disorder_ exemplify the assumed complex signification processes within the human body. The Peircean theory of signs and the Uexküllian concept of endosemiosis are combined to approach the still poorly understood phantom phenomena in light of representation and embodiment. (shrink)

In this article I consider the presence of negative space in the form of imaginative listening spaces in Chantal Akerman's documentary South. This article examines the workings of memory and imagination from an auditory perspective, aided by two conceptions of the imagination, set out by Hannah Arendt and Toni Morrison, which I equate to a process of listening. Focusing my attention on the ‘inverted face’ or ‘back’ of the face-to-face encounter, my study brings together Don Ihde's work on relative (...) silence and the auditory imagination, Max Silverman's concept of ‘palimpsestic memory’ and Sara Ahmed's theorizing of a ‘politics of sides’. It suggests that a polyphonic mode of listening is required if the spectator is to see with doubled vision, beyond a racialized dichotomy, thereby gaining access to the ‘non-forms’ of hidden voices, stories and histories. (shrink)

This article discusses “auditory” arguments: arguments in which non-verbal sounds play a central role. It provides examples and explores the use of sounds in argument and argumentation. It argues that auditory arguments are not reducible to verbal arguments but have a similar structure and can be evaluated by extending standard informal logic accounts of good argument. I conclude that an understanding of auditory elements of argument can usefully expand the scope of informal logic and argumentation theory.

_The Phantom of the Ego _is the first comparative study that shows how the modernist account of the unconscious anticipates contemporary discoveries about the importance of mimesis in the formation of subjectivity. Rather than beginning with Sigmund Freud as the father of modernism, Nidesh Lawtoo starts with Friedrich Nietzsche’s antimetaphysical diagnostic of the ego, his realization that mimetic reflexes—from sympathy to hypnosis, to contagion, to crowd behavior—move the soul, and his insistence that psychology informs philosophical reflection. Through a transdisciplinary, (...) comparative reading of landmark modernist authors like Nietzsche, Joseph Conrad, D. H. Lawrence, and Georges Bataille, Lawtoo shows that, before being a timely empirical discovery, the “mimetic unconscious” emerged from an untimely current in literary and philosophical modernism. This book traces the psychological, ethical, political, and cultural implications of the realization that the modern ego is born out of the spirit of imitation; it is thus, strictly speaking, not an ego, but what Nietzsche calls, “a phantom of the ego.” _The Phantom of the Ego _opens up a Nietzschean back door to the unconscious that has mimesis rather than dreams as its _via regia,_ and argues that the modernist account of the “mimetic unconscious” makes our understanding of the psyche new. (shrink)

The auditory system is able to recognize auditory objects and is thought to form predictive models of them even though the acoustic information arriving at our ears is often imperfect, intermixed, or distorted. We investigated implicit regularity extraction for acoustically intact versus disrupted six-tone sound patterns via event-related potentials. In an exact-repetition condition, identical patterns were repeated; in two distorted-repetition conditions, one randomly chosen segment in each sound pattern was replaced either by white noise or by a wrong (...) pitch. In a roving-standard paradigm, sound patterns were repeated 1–12 times in a row before a new pattern occurred. The participants were not informed about the roving rule and had to detect rarely occurring loudness changes. Behavioral detectability of pattern changes was assessed in a subsequent behavioral task. Pattern changes elicited mismatch negativity and P3a, and were behaviorally detected above the chance level in all conditions, suggesting that the auditory system extracts regularities despite distortions in the acoustic input. However, MMN and P3a amplitude were decreased by distortions. At the level of MMN, both types of distortions caused similar impairments, suggesting that auditory regularity extraction is largely determined by the stimulus statistics of matching information. At the level of P3a, wrong-pitch distortions caused larger decreases than white-noise distortions. Wrong-pitch distortions likely prevented the engagement of restoration mechanisms and the segregation of disrupted from true pattern segments, causing stronger informational interference with the relevant pattern information. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as (...) richly spatial as visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

Fractal structure is a ubiquitous property found in nature and biology, and has been observed in processes at different levels of organization, including rhythmic behavior and musical structure. A temporal process is characterized as fractal when serial long-term correlations and statistical self-similarity (scaling) are present. Previous studies of sensorimotor synchronization using isochronous (non-fractal) stimuli show that participants' errors exhibit persistent structure (positive long-term correlations), while their inter-tap intervals (ITIs) exhibit anti-persistent structure (negative long-term correlations). Auditory-motor synchronization has not been (...) investigated with anti-persistent stimuli. In the current study, we systematically investigated whether the fractal structure of auditory rhythms was reflected in the responses of participants who were asked to coordinate their taps with each event. We asked musicians and non-musicians to tap with 12 different rhythms that ranged from anti-persistent to persistent. The scaling exponents of the ITIs were strongly correlated with the scaling exponents of the stimuli, showing that the long-term structure of the participants' taps scaled with the long-term structure of the stimuli. Surprisingly, the performance of the musicians was not significantly better than that of the non-musicians. Our results imply that humans are able to readily adapt (rather than simply react) to the overall statistical structure of temporally fluctuating stimuli, regardless of musical skill. (shrink)

A basic function of cognition is to detect regularities in sensory input to facilitate the prediction and recognition of future events. It has been proposed that these implicit expectations arise from an internal predictive coding model, based on knowledge acquired through processes such as statistical learning, but it is unclear how different types of statistical information affect listeners’ memory for auditory stimuli. We used a combination of behavioral and computational methods to investigate memory for non-linguistic auditory sequences. Participants (...) repeatedly heard tone sequences varying systematically in their information-theoretic properties. Expectedness ratings of tones were collected during three listening sessions, and a recognition memory test was given after each session. Information-theoretic measures of sequential predictability significantly influenced listeners’ expectedness ratings, and variations in these properties had a significant impact on memory performance. Predictable sequences yielded increasingly better memory performance with increasing exposure. Computational simulations using a probabilistic model of auditory expectation suggest that listeners dynamically formed a new, and increasingly accurate, implicit cognitive model of the information-theoretic structure of the sequences throughout the experimental session. (shrink)