In On Liberty, John Stuart Mill argues that free speech possesses value because listening is valuable: it can advance one’s own thinking and action. However, listening becomes difficult when one finds the views of a speaker to be wrong, repellant, or even simply naïve. Everyday wisdom would have it that such cases present the greatest opportunities for growth. Is there substance to this claim? In particular, is there radical political value to be found in listening to others (...) at the very times one is most disinclined to do so? I contend that there is. This paper explores the political potential of what I call “radical listening.” What characterizes radical listening? How can it serve politically transformative purposes? To what extent are the powers of radical listening strategic, and to what extent is it valuablefor more conceptual reasons? Under what circumstances is it appropriate? What are the limits to, and dangers of, radical listening? (shrink)

This article explores the world of theatre from within and beyond the stage and brings together Roland Barthes as a critic and Samuel Beckett as a playwright via a third character, the Romanian-born playwright Eugène Ionesco, who anathematized the former and admired the latter. The article starts from Martin Esslin’s The Theatre of the Absurd (1961), which defined Beckett’s and Ionesco’s art, pointing out that whilst Esslin showed why their works produced ‘bewilderment’ in England and the US, he ignored the (...) Paris debates of the 1950s to early 1960s. It then covers the intricate history of Barthes’s polemical articles on avant-garde theatre and focuses on Barthes hailing Bertolt Brecht as an innovator who redefined theatre as belonging to a community. The next section engages with Beckett’s and Ionesco’s ideas on staging and their relation to Brecht and the Brechtians. The epilogue proposes a reading of Ionesco’s satirical play Improvisation or the Shepherd’s Chameleon (1955), which features Barthes and two other representatives of nouvelle critique as characters. (shrink)

My argument in this paper is that humility is implied in the concept of teaching, if teaching is construed in a strong sense. Teaching in a strong sense is a view of teaching as linked to students’ embodied experiences (including cognitive and moral-social dimensions), in particular students’ experiences of limitation, whereas a weak sense of teaching refers to teaching as narrowly focused on student cognitive development. In addition to detailing the relation between humility and strong sense teaching, I will also (...) argue that humility is acquired through the practice of teaching. My discussion connects to the growing interest, especially in virtue epistemology discourse, in the idea that teachers should educate for virtues. Drawing upon John Dewey and contemporary virtue epistemology discourse, I discuss humility, paying particular attention to an overlooked aspect of humility that I refer to as the educative dimension of humility. I then connect this concept of humility to the notion of teaching in a strong sense. In the final section, I discuss how humility in teaching is learned in the practice of teaching by listening to students in particular ways. In addition, I make connections between my concept of teaching and the practice of cultivating students’ virtues. I conclude with a critique of common practices of evaluating good teaching, which I situate within the context of international educational policy on teacher evaluation. (shrink)

Even though Slavoj Žižek has written many words about music without really saying much about it, his work nevertheless contains much that for the philosophically minded musicologist, or for the musically minded philosopher, can stimulate thinking. For the author of this article, for example, some of the ideas presented in Žižek’s 2006 The Parallax View have stimulated thinking about the possibilities of taking a comparable approach—that is, a metaphorically ‘parallax’ approach that involves considering an object of attention alternately from (...) more than one perspective—not just to music but to sounds in general. Along with summarizing Žižek’s views on music per se, “Focused Listening: The Aesthetics of Parallax” explores various ways in which persons in the presence of a single ‘sound object’ might listen to, and thus perceive and hear, that sonic phenomenon. (shrink)

In this essay, Mordechai Gordon interprets Martin Buber's ideas on dialogue, presence, and especially his notion of embracing in an attempt to shed some light on Buber's understanding of listening. Gordon argues that in order to understand Buber's conception of listening, one needs to examine this concept in the context of his philosophy of dialogue. More specifically, his contention is that closely examining Buber's notion of embracing the other is critical to making sense of his conception of (...) listening. Gordon's analysis suggests that, in Buber's model, listening involves a kind of active attentiveness to another's words or actions, engaging them as though they are directed specifically at us. Gordon's discussion of dialogue and listening also indicates that the relation between speaking and listening is one of reciprocity and mutual dependence and that listening plays an essential role in initiating many dialogues by creating a space in which two people can embrace each other as complete individuals. (shrink)

When the stored representation of the meaning of a stimulus is accessed through the processing of a sensory input it is maintained in an activated state for a certain amount of time that allows for further processing. This semantic activation is generally accompanied by conscious identification, which can be demonstrated by the ability of a person to perform discriminations on the basis of the meaning of the stimulus. The idea that a sensory input can give rise to semantic activation without (...) concomitant conscious identification was the central thesis of the controversial research in subliminal perception. Recently, new claims for the existence of such phenomena have arisen from studies in dichotic listening, parafoveal vision, and visual pattern masking. Because of the fundamental role played by these types of experiments in cognitive psychology, the new assertions have raised widespread interest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Deep Listening and Virtuous Friendship:Spiritual Care in the Context of Religious MultiplicityDuane R. BidwellA monk asked Zen master Yunmen: “What is the teaching of the Buddha’s entire lifetime?” Yunmen answered:“An appropriate response.”1In a pivotal scene from the 1988 film A Fish Called Wanda, con artist Wanda Gershwitz is fed up—finally—with her partner, Otto West. When his jealousy and ersatz intellectualism repeatedly jeopardize their attempts to steal $20 million (...) in diamonds, Wanda yells: “Now let me correct you on a few things, okay? Aristotle was not Belgian. The central message of Buddhism is not ‘Every Man for Himself.’ And the London Underground is not a political movement. Those are all mistakes, Otto, I looked them up.”2 It’s a funny moment, of course. But Otto’s (mis)understanding of Gautama’s teaching demonstrates a challenge in translating a spiritual-religious tradition from one cultural setting to another. Too often, and usually without intention, we are like Otto; we colonize and domesticate unfamiliar ideas, assimilating them into our existing worldview instead of experiencing and accommodating their challenging differences. Otto’s facile appropriation of Buddhism confirms rather than confronts his pre-critical, individualistic, and perhaps Darwinist worldview. A Buddhist caregiver might say that Otto was not “listening deeply” to the myriad voices that shaped his perspective.Similar hazards face someone writing about deep listening in relation to religious multiplicity.3 Deep listening, as a caring practice, “belongs” to the emerging field of Buddhist contemplative care,4 in which it has a technical (although perhaps undertheorized) usage richly informed by Buddhist thought and practice. But when I reflect as a pastoral theologian and spiritual caregiver trained in the Christian traditions of cura animarum, the cure or care of souls, deep listening can become unmoored from its origins. Someone marinated in the discourses and practices of Christian care can easily and perhaps unintentionally conflate deep listening with classic Christian [End Page 3] concepts of care such as the ministry of presence, the practice of unconditional positive regard,5 and the giving of oneself to God for the sake of the care seeker. Although I identify as a Buddhist Christian, habitual Christian views shape my thinking the way a canyon or streambed shapes the flow of water; unless I am attentive to the ways that Buddhist thought and practice seek fissures and carve new channels through the sediment of Christian spiritual care, I risk appropriating or erasing the practices that Buddhist caregivers call deep listening.Mindful of these waters, I want to immerse myself and readers in a particular question: In the context of spiritual care, what happens at the confluence of deep listening and a practitioner’s multiple religious voices? In responding to this question I have three aims: to describe deep listening, to provide a theoretical and experiential account of deep listening in the context of religious multiplicity, and to suggest an image from the Pāli canon that can help practitioners engage religious multiplicity in ways that minimize harm, increase compassion, and realize wisdom. A particular moment in spiritually integrative psychotherapy serves as a touchstone for my reflection; thus, I begin where the canyon creates a slender and fast-moving channel for deep listening: psychotherapy with Julie.6violence, karma, and compassionAt twenty-seven years of age, Julie was a soft-spoken, biracial graduate student who radiated mindful presence. She identifies as Asian American, and with her shaved head and tendency to wear dark colors and dramatic scarves, she might seem a typical LA hipster to other passengers on the commuter train she rode to and from our appointments. One year before our psychotherapeutic work, Julie had been beaten and raped by a boyfriend; subsequent thoughts of suicide led to a brief hospitalization. At that time she was assigned diagnoses of bipolar II and post-traumatic stress disorders. Daily, she swallowed a powerful mood stabilizer; monthly, she visited a psychiatrist. The symptoms of bipolar disorder, substance abuse, addiction, schizophrenia, depression, and suicide were present in her extended family. Julie sought counseling because of tension between what she called her “Buddhist identity” and the mental health diagnoses assigned to her. She said she... (shrink)

The acoustic dimension of political philosophy has rarely attracted serious attention, in part because scholars have tended to assume that political theories, ideas, and concepts, exist as abstract entities that are often noiselessly communicated in written texts. And yet, the noisy communication of political ideas whether in the form of Socratic dialogues, Churchillian orations, or in the hushed tones of focus group conversations treasured by deliberative democrats today, has a rich political history and a continuing relevance. This paper (...) will focus on five performative modes for the communication of political ideas: the monologue, the dialogue, the oration, the interjection, and the noisy crowd. While this list may not be exhaustive, it will be used here as a starting point for further exploration. I will contend that in each of these performative modes, the communication of political ideas is framed by the noise of actual, or textually imagined kinds of political speech designed to underscore the validity of the ideas conveyed. One of the most important reasons for traversing this variable performative and acoustic terrain today is to enable us to hear and to listen to political speech amid the potentially polluting hum of political white noise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and (...) revolutionary like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

Certain Daoist ideas explored here are compared with features of Peirce's philosophy, supplying a helpful perspective on the latter. In particular, I examine Zhuangzi's instruction about “listening” with one's spirit, along with certain discussions of “listening energy” drawn from texts dealing with the Daoist martial arts. I argue that Daoist “listening” and Peirce's concept of “musement” are both to be regarded as a disciplined form of attentiveness. By attending to no predetermined thing, a person thus disciplined (...) is “ready” for the encounter with what might otherwise remain unperceived in experience, prepared to listen to voices that might otherwise be ignored. (shrink)

This article examines an account of the listener's musical understanding put forward by Stephen Davies. I begin by discussing Davies's "expressibility requirement", according to which a musical listener should be able to express his understanding in sentences that are truth-apt. This is followed by a reconstruction of Davies's argument for the idea that high levels of musical understanding can be attained without possessing music-theoretical concepts. Such a conclusion is seen to follow from his belief that although musical understandings may be (...) evaluatively compared in terms of the concepts of music theory, the listeners themselves can always fulfil the expressibility requirement by employing simple "folk-musicological" terminology. I will attempt to show that this premise is questionable in the light of some central cases of music-structural understanding. I conclude by examining the relationship between Davies's expressibility requirement and the claim that musical understandings are evaluatively commensurable. (shrink)

The paper arises from a shared event that turned into an experience: the finding of a childlike piece of paper on our way to a conference about philosophy in schools and how it affects our educational ideas and research practices on listening to children. Triggered by the question of what it means to listen, we are led to the exercise of self-questioning inspired by some of the authors that have already written about the topic, specifically in the context (...) of the community of philosophical enquiry. The thinking unfolds with the telling of the story about the found piece of paper, crossing different layers of questioning and trying to keep the enquiry open for the readers: what is it that we do not know about listening to children? And to what extent might that, which we do not know, be the cause of biased and adultist practices? Is it necessary to return to what philosophy is and where one can find it inside the school environment? Is it already there when the adults arrive? Are we not listening to it? Or are there specific places for philosophical conversations, such as the classroom? Is philosophy also invited to the margins of those spaces? Who decides what counts as philosophical? It is not about answering questions and giving closure to our concerns as educators and researchers, but rather sharing with the readers how even in the least suspected place - an academic event about bringing philosophy to school - one might still not be listening to children. In returning to this self-questioning movement, we want to echo some of the troubling in the thinking and practices of listening in the so-called movement of Philosophy for/with Children: this for/with phenomenon, its politics and relations; some of the assumptions that might be present in the dilemmas in practice for educators and researchers; but also its aesthetics resonances, the sheer beauty of troubling, the (out of) tune of self-questioning, the questions it raises for us as researchers and the space of doubting and uncertainty it offers, like a hesitation or a breathing space. And perhaps, we wonder, it is in-between spaces, in its cracks and transitions, that important things can find their way into our thinking and conversations about childhood. Just like a piece of paper in a hotel room. (shrink)

Both the sound and the sea are characterized by a constant fluidity and transformation, which has been considered as a creative foundation for expanded sonic practices that identify, capture and experiment with natural elements. The text aims to explore how the idea of sonification as a process of translating qualities and data into sound constitutes the departure point towards contemporary sound practices that encourage deeper listening and immersive experiences. Taking the sea-responsive sound installations of French artist Félix Blume, Rumors (...) from the Sea and Suspiros as a foundation, the article presents a reflective conversation between Félix Blume and Bill Psarras on aspects of such artworks that highlight ideas of sea and limens, listening experience, sound ecology and sonic instruments through performative, inventive and participatory lenses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Dialogue:Looking Back, Looking Ahead, and Listening Ever More DeeplySallie B. KingI was asked to give a brief overview of the subject of the Buddhist-Christian dialogue, looking back over its history and looking ahead to its future. I begin with two caveats. First, of necessity, this account will be very general and I will paint with a very broad brush. I cannot speak to the many variations and (...) exceptions to many, if not all, of the general statements that I make. Second, inevitably, this account will also be very subjective. It will especially be colored by my visits in recent years to Sri Lanka, Thailand, and Taiwan.the dialogue on religious thoughtLooking back over the history of the Buddhist-Christian dialogue, one notices a pattern that is regularly remarked upon: Christians show a lot more interest in dialogue with Buddhists than Buddhists show in dialogue with Christians. This is especially the case with respect to dialogue regarding each other’s religious thought.1 Sometimes Christians observe this fact with dismay, or with the implication that there is something wrong with the Buddhist side because of this lack of interest. There is a sense among some Christians that Buddhists should be more interested in learning from Christianity on the level of religious thought. I would like to address this idea that Buddhists should be more interested in learning from Christianity on the level of religious thought.First, several people have noted that the place and function of religious thought in Buddhism are rather different than their place and function in Christianity. For example, as Rita Gross has pointed out, some forms of Buddhist meditation have no reference to Buddhist thought at all—especially some Theravada practices such as mindfulness and choiceless awareness—whereas neither she (at least, at that time) nor I can think of any Christian meditation that doesn’t reference God or Jesus.2Again, Rita Gross has stated that for Christians to take at least some Buddhist thoughts and practices seriously, they needn’t give up necessarily any of their own fundamental doctrinal commitments, whereas the reverse is not the case.3 That is, a [End Page 7] Buddhist who wanted to take Christian thought seriously would almost immediately come face-to-face with Christianity’s theism. They likely would be unable to proceed, since accepting theism would require them to forego the whole edifice of Buddhist thought.Here I must demur. It is true that Christianity’s theism and Buddhism’s nontheism give fundamentally different foundations to their respective worldviews. But surely there are some elements of Christian thought and practice that Buddhists could absorb from Christianity without a fundamental reorientation. Some examples of ideas in Christianity that seem unthreatening to the foundations of Buddhism, yet potentially growth-inspiring for Buddhism in dialogue, come readily to mind. For example, as the relative place of laypeople shifts within modernizing Buddhism, a great deal might be learned from Christian thought on church and community. Again, Christian thought that contemplates realization of the Kingdom of God here and now might be of interest to those Taiwanese Buddhists who speak of a “Pure Land on Earth.” Even in the (semi-)ontological area, Christian thought on Spirit or pneuma might make for a potentially enriching dialogical partner for Buddhists, with their ideas on Buddha nature, Tathagatagarbha and Dharmakaya. The two sets of thinking on Natural Law could be a place of mutual learning. And many of the parables of Jesus have the power to cause people to see things in a new way, regardless of world-view. There is much that Buddhists could absorb from Christians while maintaining their basic worldview. Yet it remains true that it is hard to see much evidence of Buddhists absorbing anything substantial from Christian religious thought.I think that at this point in the Buddhist-Christian dialogue, we can say that the Buddhists have voted with their feet. Buddhist dialoguers are not ignorant of Christian religious thought. There have been some rather deep Buddhist studies, for example, of Jesus and of Christian mystics.4 However, it seems clear that they haven’t, as a rule, found anything there that has... (shrink)

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern (...) works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand. (shrink)

What is the proper role for Theory in literary study? An aid to reading? Or source of insight into the world beyond the text? Half-heartedly apologizing for the political-theoretical excesses of the past two decades, Gayatri Chakravorty Spivak and Jean-Michel Rabaté offer up more of the same, with Spivak in particular recycling the ideas of others so as to revive literature as a source of political "Othering." Noting the ways in which Theory silences the sounds of "Others," I argue (...) Valentine Cunningham's placing of Theory permits both texts and others to speak, and in so doing, teaches us to listen. (shrink)

In this article Sophie Haroutunian-Gordon and Megan Jane Laverty discuss Jean-Luc Nancy's conception of listening as presented in his seminal work, À l'écoute. The authors argue that Nancy uses the term “listening” to refer to the experience of coming to an idea of sound(s) initially encountered as puzzling. They illustrate Nancy's conception with teaching/learning situations involving a pianist and teacher, Deborah Sobol, and two aspiring players, Sophie Haroutunian-Gordon and Rosalie Romano. The article has four parts. In part 1, (...) the authors ask: Do we see Deborah trying to make meaning of Sophie's performance on October 2, 1998? In part 2, they ask: Do we see Sophie trying to make meaning of Deborah's words and demonstrations on the same occasion? In parts 3 and 4, they explore Sophie's and Rosalie's listening when they are coached by Deborah on January 15, 1999. In so doing, Haroutunian-Gordon and Laverty illustrate Nancy's conception of listening and demonstrate its usefulness for theorizing about and studying actual situations. (shrink)

If we’re aiming to have well-founded beliefs, then we generally think it’s a good idea to listen to a wide range of arguments. Listening to dissenting views, in particular, is important for avoiding epistemic dispositions to dogmatism and closed-mindedness. We might say we have an epistemic responsibility to listen to others in order to ensure we do our due diligence when forming beliefs. But do we also have to listen to the arguments of people with whom we disagree online? (...) Received wisdom suggests no, and that not listening online is something of a life raft for epistemic self-preservation. Search engines like Google help to facilitate this self-preservation by filtering the testimony we will come across. There are legitimate concerns about the way that this sort of online personalization undermines our ability to access a sufficiently wide range of information. I explore here a related worry: how might our reliance on Google filtering be affecting our ability to listen responsibly and meet our duties to be good listeners? I propose that our received wisdom is misguided, and in fact search engines like Google have raised the stakes for what counts as good listening. (shrink)

The paper begins with the concept of voice and questions its different meanings, especially in educational settings, to propose a philosophical framing of people-of-young-age’s material voices. It then proposes to understand those voices as disruptive differences or opportunities to (re)think about our roles as educators and, most of all, to return to the question of what a philosophical approach to childhood might disrupt. In doing so, it outlines some ideas about “voice” as sound and materiality (Cavarero, 2005) and also (...) about “listening” as a permanent attention to what might emerge (Nancy, 2002; Davies, 2014), to then extend particular meanings of these concepts to the practice of thinking philosophically with people of different ages in the community of philosophical inquiry educational setting (Kennedy & Kennedy, 2012). It also builds on the concept of “event” by Gilles Deleuze (Deleuze, 2013), as a potential immanent within a confluence of forces, to then ask how we can foster a philosophical way of living (in) education that takes people-of-young-age’s material voices as something we cannot afford to lose. Finally, the paper proposes to frame the community of philosophical inquiry as a philosophical community of voices, in the sense of an opportunity to experience the materiality of all the voices as something that matters in the shared thought of its participants. (shrink)

Recent debates over adults' theory of mind use have been fueled by surprising failures of perspective-taking in communication, suggesting that perspective-taking may be relatively effortful. Yet adults routinely engage in effortful processes when needed. How, then, should speakers and listeners allocate their resources to achieve successful communication? We begin with the observation that the shared goal of communication induces a natural division of labor: The resources one agent chooses to allocate toward perspective-taking should depend on their expectations about the other's (...) allocation. We formalize this idea in a resource-rational model augmenting recent probabilistic weighting accounts with a mechanism for (costly) control over the degree of perspective-taking. In a series of simulations, we first derive an intermediate degree of perspective weighting as an optimal trade-off between expected costs and benefits of perspective-taking. We then present two behavioral experiments testing novel predictions of our model. In Experiment 1, we manipulated the presence or absence of occlusions in a director–matcher task. We found that speakers spontaneously modulated the informativeness of their descriptions to account for “known unknowns” in their partner's private view, reflecting a higher degree of speaker perspective-taking than previously acknowledged. In Experiment 2, we then compared the scripted utterances used by confederates in prior work with those produced in interactions with unscripted directors. We found that confederates were systematically less informative than listeners would initially expect given the presence of occlusions, but listeners used violations to adaptively make fewer errors over time. Taken together, our work suggests that people are not simply “mindblind”; they use contextually appropriate expectations to navigate the division of labor with their partner. We discuss how a resource-rational framework may provide a more deeply explanatory foundation for understanding flexible perspective-taking under processing constraints. (shrink)

ABSTRACT This paper investigates the concept of wrongful disability. That concept suggests that parents are morally obligated to prevent the genetic transmission of certain conditions and so, if they do not, any resulting disability is ‘wrongful’. In their book From Chance to Choice, Buchanan, Brock, Daniels and Wikler defend the concept of wrongful disability using the principle of avoidability via substitution. That principle is scrutinised here. It is argued that the idea of avoidability via substitution is both conceptually problematic and (...) rather insensitive. Instead, it is suggested that the question of whether or not bringing a particular disability about is wrongful does not simply hinge on whether or not substitution takes place. Rather, it involves an evaluation of parental aspirations and responsibilities. It is argued that the desire not to be responsible for creating challenges for others that lie outside what is perceived to be an acceptable range provides a justification for termination of pregnancy on the grounds of projected disability that neither commits one to a wrongful life claim, nor requires that one substitute a non‐disabled child instead. The ramifications of such an approach are explored. The paper concludes by suggesting that the question of what is considered to be an acceptable range of human capability is an increasingly important one. It is argued that, when addressing that question, we should be acutely aware of the social context that may go some way to define what we consider to be an acceptable range. (shrink)

In this essay Suzanne Rice examines Aristotle's ideas about virtue, character, and education as elements in an Aristotelian conception of good listening. Rice begins by surveying of several different contexts in which listening typically occurs, using this information to introduce the argument that what should count as “good listening” must be determined in relation to the situation in which listening actually occurs. On this view, Rice concludes, there are no “essential” listening virtues, but rather (...) ways of listening that may be regarded as virtuous in the context of particular concrete circumstances. (shrink)

Plato gradually reaches the concept of the “Good itself” in the most extensive dialogue (apart from The Laws). The dramaturgy of Republic was included in the pedagogical idea. Plato’s own brothers, Glaucon and Adeimantus, representatives of the aristoia, want to hear from Socrates logically based instruction on what is really good and why, regardless of the prevailing public opinion in Athenian society. They both know that the most valued asset is the wealth and political influence that the use of force (...) provides. Thanks to this, you can effectively appear to be the fairest among citizens, despite the fact that you are extremely unjust. Appearances are highly valued in social life. Only minds exceptionally open to dialectics seek the truth, not content with appearances. Socrates introduces listeners to the knowledge of “the Good itself”, the “form of the Good”, as the most perfect object of knowledge and at the same time the highest principle. The Good, identical with the “One”, “is” above substance (509b). (shrink)

The author finds attitude rather than belief to be motivating force in human actions. The idea of purity of science does not forbid the scientist to express his personal judgments; what it does is to demand that he should himself realize that in doing so he trespasses the limits of science and, moreover, that he should make others realize it. The essential difference between social engineering and technology is that in social life it is steadily necessary to choose from among (...) conflicting values. A politician acts rightly when he listens to the opinions of experts but still he is the one who bears the ultimate responsibility for the decisions he makes. (shrink)

Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field--musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand and engage (...) with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition--that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy's focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents. (shrink)

The so-called New Music in Europe after the Second World War was based on the idea of progress, similar to technological progress and related to it, and aimed at a complete rationalization of composing. The ideal of music as autopoiesis, which appeared in the 1950s, became inherent to this development. It supposed a kind of communication on music as a reified object, which opposed music making and listening as communication between partners. Separated from the life-world and conceived as a (...) self-referential system, New Music should represent not only the logical achievement of the historical development of European music, but also the superiority of Western musical thought in the more developed countries (like the USA, France, West Germany) over the music cultures of the world. Therefore, the integral serialism, which should rule the musical composition, became a form of symbolic power within the musical field, in correspondence with similar forms of domination within the economic, political and technological fields. However, some European composers rejected this trend and tried to find an alternative to aestheticism by means of political engagement. For instance, the Italian composer Luigi Nono (1924-90) explores the dialectic between subject and object, technological development and critique of technology, avant-garde and critique of progress, globalization and anti-imperialistic resistance. In his strategy, in which Gramsci's and Walter Benjamin's thought played an important role, aesthetics became inseparable from politics. His search for identity as a composer transforms the tragedy of listening into an allegory of human condition. (shrink)

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...) it might seem at first. (shrink)

“I would go into a lunch of stockbrokers who would be coming to listen to the business philosopher, and I felt so nervous because I thought I was supposed to tell them where they should be putting their clients’ money on the basis of my knowledge of the history of ideas. I felt such a failure because I didn’t know what they should do with their clients’ funds.”.

To entertain an idea is to take it in, pay attention to it, give it breathing room, dwell with it for a time. The practice of entertaining ideas suggests rumination and meditation, inviting us to think of philosophy as a form of hospitality and a kind of mental theatre. In this collection, organized around key words shared by philosophy and performance, the editors suggest that Shakespeare's plays supply readers, listeners, viewers, and performers with equipment for living. In plays ranging (...) from A Midsummer Night's Dream to King Lear and The Winter's Tale, Shakespeare invites readers and audiences to be more responsive to the texture and meaning of daily encounters, whether in the intimacies of love, the demands of social and political life, or moments of ethical decision. Entertaining the Idea features established and emerging scholars, addressing key words such as role play, acknowledgment, judgment, and entertainment as well as curse and care. The volume also includes longer essays on Shakespeare, Kant, Husserl, and Hegel as well as an afterword by theatre critic Charles McNulty on the philosophy and performance history of King Lear. (shrink)

How does John Cage’s conceptual work 4′33" communicate its meaning and how can we appreciate it? In this paper, I develop two competing interpretations to tackle these questions. First, drawing on Peter Goldie and Elisabeth Schellekens’s account of conceptual art and on Cage’s commentary on 4′33", I elaborate an overlooked idea that the work creates a new art form of conceptual music, which can be appreciated exclusively through the ideas it conveys. However, I argue that the conceptualist interpretation of (...) 4′33" does not help us understand the work’s point, because it reveals a set of inconsistent claims about music and listening. The second interpretation draws on Julian Dodd’s view that the physical medium is irreducible in appreciating conceptual artworks. I develop this view by introducing a notion of a gesture to expand on how the performance of 4′33" contributes to its aesthetic appreciation and propose an alternative interpretation of the work’s meaning. (shrink)

Walter Kohan has recently observed that Socrates does not seem partic­ularly interested in the opinions of his interlocutors. Consequently, the philosopher is not really involved in a peer to peer relation with them, but rather embarks upon the task of annihilating their ideas. With the situation being as it is, the image of Socrates as a champion of dialogue begins to wobble. While the present paper aims to discuss these claims, a number of issues needs to be accounted for. (...) First of all, the Socratic dialogue does begin in a characteristically symmetrical way, but it becomes more and more asymmetric as the elenchos begins to appear. This is due to the fact the elenchos makes the interlocutors defensive, whereas Socrates can attack freely. Given that, Kohan’s claims seem justified and enlightening, but they should not be regarded as conclusive, since one must neither forget nor undervalue how innovative it was to replace monologue speeches with one-to-one dialogues which offered the opportunity of being involved in unforeseeable conversations. (shrink)

_The Hum of the World_ is an invitation to contemplate what would happen if we heard the world as attentively as we see it. Balancing big ideas with playful wit and lyrical prose, this imaginative volume identifies the role of sound in Western experience as the primary medium in which the presence and persistence of life acquire tangible form. The positive experience of aliveness is not merely in accord with sound, but inaccessible, even inconceivable, without it. Lawrence Kramer’s poetic (...) book roves freely over music, media, language, philosophy, and science from the ancient world to the present, along the way revealing how life is apprehended through sounds ranging from pandemonium to the faint background hum of the world. Easily moving from reflections on pivotal texts and music to the introduction of elemental concepts, this warm meditation on auditory culture uncovers the knowledge and pleasure made available when we recognize that the world is alive with sound. (shrink)

In the early 20th century, Marxist theory was enriched and rejuvenated by adopting the concept of reification, introduced by the Hungarian theorist Georg Lukács to identify and denounce the transformation of historical processes into ahistorical entities, human actions into things that seemed part of an immutable "second nature." For a variety of reasons, both theoretical and practical, the hopes placed in de-reification as a tool of revolutionary emancipation proved vain. In these original and imaginative essays, delivered as the Tanner Lectures (...) at the University of California, Berkeley in 2005, the distinguished third-generation Frankfurt School philosopher Axel Honneth attempts to rescue the concept of reification by recasting it in terms of the philosophy of recognition he has been developing over the past two decades. Three distinguished political and social theorists: Judith Butler, Raymond Geuss, and Jonathan Lear, respond with hard questions about the central anthropological premise of his argument, the assumption that prior to cognition there is a fundamental experience of intersubjective recognition that can provide a normative standard by which current social relations can be judged wanted. Honneth listens carefully to their criticism and provides a powerful defense of his position. (shrink)

A fascinating and hugely original book that explains how a vexing technical puzzle was solved, making possible some of the most exquisite music ever written. From the days of the ancient Greeks, the creation of music was thought to be governed by divine and immutable mathematical certainties. But over time skeptics came to understand that those rules limited harmonic possibilities. In Temperament , we see the traditionalists and the innovators battling across the centuries, engaging great thinkers like Newton, Kepler, and (...) Descartes as well as musicians, craftsmen, church leaders, and heads of state. At the heart of their dispute is the question of how the tones of a musical scale should be selected. The breakthrough came in the eighteenth century, when the modern keyboard was given perfect musical symmetry through a tuning of equal temperament, each pitch reliably equidistant from the ones that precede and follow it. This tuning allows a musical pattern begun on one note to be duplicated when starting on any other; it creates a musical universe in which the relationships between tones are reliably, uniformly consistent--a universe of greatly expanded possibility, one that allowed Liszt, Chopin, Brahms, Debussy, and all those who followed to compose the piano music we listen to today. Stuart Isacoff relates the story of the reinvention of the piano--a story that encompasses social history, religion, philosophy, and science as well as musicology--in a concise and sparkling narrative. Temperament is a jewel of a book. (shrink)

This paper pursues a phenomenological investigation of the nature of absorbed listening in Western, classical music concert audiences. This investigation is based on a data-set of 16 in-depth phenomenological interviews with audience members from three classical concerts with the Stavanger Symphony Orchestra and the Norwegian Radio Orchestra conducted in spring 2024. We identify seven major themes, namely “sharedness”, “attention”, “spontaneous thought/mental imagery”, “modes of listening” “absorption”, “distraction”, and “strong emotional experiences”, and interpret these in light of relevant (...) class='Hi'>ideas in phenomenology, cognitive psychology, and ecological aesthetics, more precisely “passive synthesis” from Husserl, the “sense of agency” from Gallagher, and “mind surfing” from Høffding, Nielsen, and Laeng. We show that, like absorbed musical performance, absorbed musical listening comes in many shapes and can be grasped as instantiating variations of passive synthesis, the sense of agency, and mind surfing. We conclude that absorbed listening circles around a kind of paradox of passivity, characterised by a sense of loss of egoic control arising from particular forms of invested, intensive perceptual, cognitive, and affective engagement. (shrink)

The Indian-America philosopher Sri Chinmoy Ghose has distinguished between outer silence, inner silence, and innermost silence. In this paper I explore these distinctions and their educational relevance. My main conclusions are that (a) a deep inner silence, undistracted by questions or other thoughts, is at the root of one paradigm kind of good listening in education, and (b) what Chinmoy refers to as “innermost silence” is the moral virtue of receptivity to others that sustains inner silence, even under challenging (...) conditions, a virtue of importance in teaching and in learning from others. (shrink)

Whoosh, crunch, buzz, inhale, exhale... Listening for Learning: Performing a Pedagogy of Sound and Listening presents sound, listening, and pedagogical interactions as performances that create relationships, ways of being and knowing, and that provide an opportunity for transformations of existing and taken-for-granted practices in the classroom. By using performative listening and performative writing this book presents fragments of sound and listening as sites of learning and knowledge production. The written fragments throughout this book are offered (...) as performances that listen for and hear sound as a central feature to educational practices in terms of bodies, classrooms, and pedagogy. The goal in sharing this performance of listening is to create opportunities for recognition, to invite further listening in educational contexts, and to employ listening as an opportunity for transforming and re-imagining educational spaces and interactions. (shrink)

Sense of agency refers to the ability to influence one’s functioning and environment, relating to self-efficacy and wellbeing. In youth, agency may be challenged by external demands or redefinition of self-image. Music, having heightened relevance for the young, has been argued to provide feelings of self-agency for them. Yet, there is little empirical research on how music impacts adolescents’ daily sense of agency. The current study investigated whether music listening influences adolescents’ perceived agency in everyday life and which individual (...) and contextual determinants would explain such an influence. Participants were 44 adolescents (48% female, 36% with training in music, mean age 14), recruited through local schools. The mobile Experience Sampling app MuPsych was used to collect brief self-reports of personal music listening experiences during daily life. This method assessed the change in the listener’s perceived control over both their emotional states (Internal Agency), and their external environment (External Agency), over five minutes of music listening. Also measured were changes in mood states, and contextual variables (social situation, concurrent activity, and reason for listening). The impact of music on the sense of agency was analyzed using multilevel structural equation modelling. There was no general increase of agency across all music episodes, but agency fluctuations were determined by specific individual and contextual factors. Music training predicted increases in both internal and external agency during music listening, and external agency increased more for male participants. Certain context features such as listening alone, paying attention to music, and listening for enjoyment were related to greater increases in agency. Increases in agency significantly correlated with increases in mood valence. Our findings confirmed the plasticity and situational embeddedness of the sense of agency. Music indeed can support agency, but the impact is dependent on specific individual and contextual factors. Sense of agency can be seen as a health resource and significant part of youth development, and current findings provide new insight into when and by whom such affordance is likely to be employed. (shrink)

Listening comprehension input is necessary for language learning and acculturation. One approach to developing listening comprehension skills is through exposure to massive amounts of naturally occurring spoken language input. But exposure to this input is not enough; learners also need to make the comprehension corpus meaningful to their learning experience.

This paper adds a phenomenological account to the discussion on what constitutes the favorable prospects of the peer-relation in the context of self-help. By drawing on Heidegger’s lectures on St Paul’s First Thessalonians, and engaging in dialogue with a fictive case, we show that more attention needs to be given to how meaning is enacted, rather than simply adopted, in the peer-relation; that is, away from experiential content towards the process of how experiential knowledge is transferred communicatively. This, we argue, (...) may clarify the underpinnings of the peer-relation and its emancipatory potential. Our findings propose a reconsideration of the role played by communicative activities in self-help. And, whereas storytelling has often been propounded as a way to facilitate agency among self-helpers, also the act of listening should receive more attention. By considering listening as an expression of agency, attention is reversed from self-narration on behalf of the person expected to be helped from it, to participation in another person’s story. The enaction approach to the peer-relation elaborated on in this paper invites the reader to rethink the value of talking and listening in helping relationships. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Listening Eye: Postmodernism, Paranoia, and the HypervisibleJerry Aline Flieger (bio)Jean Baudrillard. The Transparency of Evil: Essays on Extreme Phenomena. Trans. James Benedict. London: Verso, 1993. Trans. of La transparence du mal: Essai sur les phénomènes extrêmes. Paris: Galilée, 1990.Jean-François Lyotard. The Inhuman: Reflections on Time. Trans. Geoff Bennington and Rachel Bowlby. Stanford: Stanford UP, 1991. Trans. of L’inhumain. Paris: Galilée, 1988.Slavoj Zizek. Looking Awry: An Introduction to (...) Jacques Lacan Through Popular Culture. Cambridge: MIT P, 1992.“To the insides of the ear belong those who have a sight of internal hearing.” That’s the nocturnal look, the listening eye.—Emmanuel Swedenborg, cited in Lyotard, The InhumanPostmodernism, Yet AgainIn this essay, I shall take a cue from Slavoj Zizek’s discussion of Lacanian anamorphosis, or skewed perspective (Looking Awry), in order to read three dissimilar works alongside one another, and from a “paranoid” slant. For in spite of sometimes radically incommensurate subject matter, the three works I discuss here—The Transparency of Evil (Jean Baudrillard), Looking Awry (Slavoj Zizek) and The Inhuman (Jean-François Lyotard)—all share a focus on the dehumanizing effects of technology as determinants of what Lyotard has called the postmodern condition. 1 Moreover, all three works themselves adopt something like a paranoid perspective, suggesting that under the sway of an ethic of sheer performativity, human contact—face to face—has been rendered obsolete by interface.In the bleak vision of The Transparency of Evil (1993), for instance, Baudrillard describes an isolated disembodied satellite man, cut loose from his moorings: “The centrifugal force of our proliferating technologies has stripped us of all weight.... Freed of all density, all gravity, we are being dragged into an orbital motion which threatens to become perpetual” [30–31]. Similarly, in “The Ecstasy of Communication” (1983), Baudrillard describes a robotic subject mesmerized by pornographic hypervisibility, [End Page 90] “more visible than the visible... the obscenity of what no longer has any secret, or what dissolves completely in information and communication” [130–31]. 2Like Baudrillard, Lyotard (The Inhuman) describes the loss of dimensional intersubjectivity, suggesting that space is no longer an enabling interval between subjects, the scene of the exchanged gaze: contemporary cyberspace is the scene of communication without community, saturated with hypervisible information. But while for Baudrillard, we are already in weightless orbit, in a postcatastrophic, fractal aftermath, for Lyotard our fate is not yet cast, although adumbrated disaster—the end of the species or of the universe—provides a telos for our existence.Slavoj Zizek is not nearly so metaphysical, nor so glum, as his fellow post-philosophers, but he is every bit as concerned with the optical, Looking Awry. Zizek is a patient and even cheery exegete of Lacan, attempting to “introduce” Lacanian thought by looking at film, detective fiction, and other user-friendly instances of modern culture as templates of theory. Indeed, compared to his fellow travelers, Zizek is resolutely quotidian, even earthbound, focusing on the contemporary human subject as consumer/spectator, seated not in a satellite capsule or at a computer terminal but at the movies, popcorn in hand.Yet in spite of his goodwill, Zizek’s take on postmodernism is anything but sanguine: he too depicts a subject who is prey to the fascination of overexposed “obscene” virtual reality (X-rated Hitchcock, if you will), and always threatened as well by the eruption of the menacing Lacanian real into the web of symbolic reality—an intrusion that awakens the paranoid “post-man” from an absorption in the image on the screen, with a reminder of the precariousness of all that appears evident or meaningful. Thus in “The Obscene Object of Postmodernity” [Looking Awry, chap. 8], Zizek describes a blot or stain that sticks out or refuses assimilation to the totalizing gaze, eclipsing the heretofore meaningful and legible symbolic universe with an ineffable real that “produces a radical opacity and blocks every essay of interpretation” [151]. I suggest that Zizek’s notion of the obscene object as blot—like the hair on the camera lens that “disturbs” our absorption in the screen—as well as Lyotard’s notion of obdurate matter, may... (shrink)

This essay builds on various critiques of the relationship between the voice and autonomous individual subjectivity, briefly tracking the specific history through which the voice transformed into an ideal object representing the liberal subject of post-Enlightenment thought. This paper asks: what are we to make of those enfleshed voices that do not conform to the ideal voice of the self-possessed liberal subject? What are we to make of those voices that refuse the imperative of improvement that underpins social and economic (...) contractualism? How might we attend to the sonicity of those voices that refuse to individuate, possess, and accumulate? And what fugitive modes of speech might be transmitted by such un-formed and un-organized voices? Against the idealized voice of liberalism, and the gendered and racialized exclusions that this voice implies, I propose a mode of fugitive listening that allows us to open our ears to the noisy voices and modes of speech that sound outside the locus of politics proper. Indebted to the Black radical tradition, fugitive listening attends to sonic practices that refuse the given grounds of representation. I argue that fugitive listening is a practice that can be situated in what Stefano Harney and Fred Moten call ‘the undercommons’. The essay concludes by turning to gossip, figuring this noisy modality of speech as central to undercommon spaces shaped by Black performance. (shrink)

Since the publication of Pedagogy of the Oppressed, Paulo Freire has been important for disseminating the concept of dialogue in education. Dialogue is often framed as the kind of interaction that educators should enact in their practice, to right historical and socio-political wrongs. With this, speaking and assuming one’s voice has a special place in education, but this paper argues for the significance of listening for any conceptualisation of dialogue. Starting with a description of an event that Freire described (...) as the ‘clearest and most bruising lesson’ of his life as an educator, this paper undertakes a phenomenology of the error leading to his development of dialogue as an educational praxis. From this the paper addresses the question ‘how do we learn when we are wrong?,’ and argues against an exclusively epistemological perspective on dialogue and ‘being wrong’ in favour of an ontological framing of dialogue and ‘being in error’. (shrink)

Palliative care seeks to provide holistic care to improve the quality of life for the sick, especially as they approach the end of their lives. Addressing the spiritual dimension of the human person is useful because it provides answers to the meaning of life. Spiritual care has been shown to be of great benefit to patients. Therefore, this paper explores the importance of the spiritual dimension in palliative care; highlight the act of listening as a key part of spiritual (...) care, showing that physician burnout is the main obstacle to improving listening as an appropriate service that is both comforting and healing. -/- Los cuidados paliativos buscan ofrecer una atención holística para brindar una mejor calidad de vida a los enfermos, especialmente cuando se aproximan al fin de su existencia. Profundizar en la dimensión espiritual de la persona humana resulta útil puesto que ofrece respuestas al sentido de la vida. Se ha constatado que la atención espiritual aporta grandes beneficios para el paciente. Es por eso que en este trabajo hemos querido profundizar en la importancia de la dimensión espiritual en los cuidados paliativos; se destaca la actitud de la escucha como pieza clave de dicha atención espiritual, lo que evidencia que el burnout de los médicos es el principal obstáculo para potenciar la escucha como una adecuada disposición que resulte consoladora y sanadora. (shrink)

In this inquiry, I ask what is distinctive about listening as a teacher. I develop the meaning of educative listening as a mode of listening to interruptions in a way that promotes students’ thinking and learning. Interruptions in a teacher’s listening are defined as any unexpected response from a student to the material presented — for example, a challenging viewpoint, a difficult question, or a confusing reply — that opens up possibilities for cultivating learning. To begin, (...) I draw upon Dewey to examine the connections between listening and learning in teacher-student interaction. In the second section, I explicate the implications of Dewey’s theory of learning for a theory of listening in reflective teaching. Here, I contend that reflective teaching entails educative listening. In the final section, I inquire into how teacher education can productively address the connections between learning to listen and learning to teach reflectively. (shrink)

This article argues that empathic listening deceives naive sources into thinking that they will be portrayed favorably in news stories. It suggests that a fair practice of interviewing obligates journalists to obtain informed consent from their sources in advance. Journalists may waive this obligation only when the personal integrity of sources is protected against the pragmatic calculations that tend to prevail in journalism ethics.

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold (...) this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (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)

Quarantine and spatial distancing measures associated with COVID-19 resulted in substantial changes to individuals’ everyday lives. Prominent among these lifestyle changes was the way in which people interacted with media—including music listening. In this repeated assessment study, we assessed Australian university students’ media use throughout early stages of the COVID-19 pandemic in Australia, and determined whether media use was related to changes in life satisfaction. Participants were asked to complete six online questionnaires, capturing pre- and during-pandemic experiences. The results (...) indicated that media use varied substantially throughout the study period, and at the within-person level, life satisfaction was positively associated with music listening and negatively associated with watching TV/videos/movies. The findings highlight the potential benefits of music listening during COVID-19 and other periods of social isolation. (shrink)