Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved st...

How can sound and space be connected not only in a metaphorical sense? Over the last decades, philosophy of sound, aesthetics, and musicology have shown increasing interest in space inquiry. However, the way we interact with each other, communicate in space, and gather information about/in space is rooted in sound in a completely different way from those of musical metaphors. In this paper, I present an analysis of the role sound plays in the constitution of both space and relations of (...) intimacy within it. Starting from the wealthy tips that E. T. Hall gives to us in order to delineate a new understanding of proxemics that includes sound experience, I argue that sound, silence, and noise are essential to determine the intimate space and the way we interact with it. Moving from a classical proxemics perspective, the analysis will focus on the intimate relation between sound, space, and body, dialoguing with phenomenology, anthropology, semiotics, and philosophy of space. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account of sexuality is (...) built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)

Assuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is (...) focused on Ascott’s ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’. (shrink)

A new, provocative study of the ethical, political, and social meanings of the everyday voice. Utilising the framework of feminist philosophy, authors Ann J. Cahill and Christine Hamel approach the phenomenon of voice as a lived, sonorous and embodied experience marked by the social structures that surround it, including systemic forms of injustice such as ableism, sexism, racism, and classism. By developing novel theoretical constructs such as "intervocality" and "respiratory responsibility," Cahill and Hamel cut through the static between theory (...) and praxis and put forward exciting theories on how human vocal sound can perpetuate -- and challenge -- persistent inequalities. Sounding Bodies presents a powerful model of how the seemingly disparate disciplines of philosophy and voice/speech training can, in conversation with each other, generate illuminating insights about our vocal lives and identities. (shrink)

Music invents, constructs, quite simply makes the body, in sonorous spaces that resonate both within and between us. The disciplinary power of music was well known to the ancient Greeks and ancient Chinese. This disciplinary power holds simply for listeners, but of course is especially true for performers, for people who train their bodies in relation to the prostheses, the instruments, that make music possible. Both systematic and historical, this book is the first truly comprehensive critique of organology (...) (the study of musical instruments as related to the human body). (shrink)

The topic of analogical relationship between hearing and meaning has strong repercussions in the history of musical understanding. The high-low couple, the ground of spatial dimension in music, turns in a lot of metaphorical meanings which show the way that draws from perceptual data to imaginative values. In this paper, I reconstruct a shirt history of the relationship between hearing and imagination starting from the metaphorical conception of musical hearing from Aristotelian environment to phenomenological perspective.

This article proposes a rereading of the question of the body and of meaning in the work of Jean-Luc Nancy by considering the phenomenon of sound. The issues of tonality, voice and listening have been at the center of several of Nancy’s studies throughout his philosophical production, but it is from his last publication, the book Cruor, that the analysis of sound outward propagation acquires a major relevance in the thought of bodies. Sound implies a fragmentation which suspends all (...) rhetoric of contact and all spatial valorisation of the “between” (of the in-between, of between-us, of being-with). (shrink)

This text studies the corporeality of attentive reading. It relies and builds upon philosopher Jean-Luc Nancy’s suggestion that there is, each time, arecitative voicewithin the heart of our advancement through a textual body. This text examines the intriguing figure of recitative voice by paying attention to two bodily variations of reading: reading aloud and reading silently. Nancy’s recitative voice, as a sonorous, resonant, oral, buccal and vocal notion, can help us in explicating how our bodies condition our experiences (...) of reading, yet ultimately he remains rather implicit on how we advance through textual bodies. This short text argues that we can explicate the bodily weight implicit to reading, if we interpreted it as a recitative act. When we read aloud, our experience of a text consists of an advancement of our conjoined gaze and voice through the letters, words and sentences making up our text; when we read silently, our closed and silent mouth is still conjoined with our advancing gaze, advancing as desirous for speech and with words already grasped, even when no words are folded in (or with) exhaled warm air. (shrink)

While vocal acts, such as interpellation and speech acts, constitute a network of theoretical nodes in Butler’s writings, her theory of gender performativity neglects to theorize the mediation of such acts through the voice and its technologies. In a close reading of Butler’s influential texts, the paper examines the ramifications of a notion of gender performativity that ignores the performative aspects of the voice, asking what it means to think a body without a voice. What notions of materiality and (...) subjectivity does such a thinking it assume? How does it understand the relationship of performativity, performance and sound technology? I argue that the repression of the sonoric aspects of the voice can be read as a symptom of the role of materiality in the theory of gender performativity. Despite Butler’s attempts to attend to the material body within a discourse of the performative, the notion of materiality is constrained through the economy of the sign and remains subordinated to the realm of intelligibility, a hierarchy that Butler explicitly rejects. However, the material voice will finally supplement and subvert the theory of gender performativity. (shrink)

The notion of hyle seems problematic for a phenomenological foundation of experience. For this very reason, its completed invalidity was generally postulated. At the same time, there are many reflections in Husserlian writings that help us understand it better. This paper attempts to show how hyletic experience, by existing in the lived body, triggers in parallel rhythmic, vibrating, and sonorous experiences as bodily experiences. Sounds are experienced by the body before any reflections or conscious experiences of them. (...) In this way, the aporetical instance of hyletic data founds a proposal of resolution in the fundamental corporeal experience of sound. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level (...) of subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

This article discusses the artist, filmmaker, and writer Lana Lin’s “revisioning” of Audre Lorde’s The Cancer Journals (1980) to consider how the poetic encounter between two artists from different generations exemplifies the relational praxis that Lorde pursued throughout her life. In revealing the ways in which Lorde opens acoustic sensory spaces for contemporary readers and listeners of her work, I specifically focus on the political and aesthetic dynamic of recitation in Lin’s experimental documentary The Cancer Journals Revisited (2018). I trace (...) how recitation becomes a coalitional practice of feminist chorus through which readers and listeners embody the sonorous space they co-create through and with Lorde. The article further looks into the ways Lin pairs recitation performance with visceral images of body parts on the screen to argue that the film’s visuals dwell in and extend the form of the chorus; which is to say, the film expands the meaning and practice of chorus beyond the realm of the sonic. The bodies on the screen extend the chorus, immersing the audience in a participatory rethinking of the experience of cancer (particularly breast cancer) not merely as an individual misfortune or an aesthetic concern. In adjoining textual, visual, and acoustic elements, Lin’s film provides a powerful transformative sensory environment, reverberating through the reciters and the audience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comme Elle Respire:Memory of Breath, Breath of MemoryFrédérique Berthet (bio)Translated by David F. Bell (bio)La poésie est un système de respiration, c'est fait pour mieux respirer.[Poetry is a respiration system, it's made for breathing better.]—Erri De Luca- Stop!- What?- I can hear you breathing!...- Stop!- Breathing?- Yes!—Paul Thomas AndersonLittle paper-fish cutouts have been placed on the ground, on the carpet.We're in the reassuring '70s stylishness of a doctor's office. (...) The carpet is soft and glistens like in interior decoration magazines, it's with it, in. We couldn't care less about what Dyson vacuum cleaners and "purifiers" boast they can eliminate several decades later: acarids, those microscopic domestic arthropods, human parasites (notably), and airborne vectors of infectious disease (colds, coughs, respiratory distress). No, in the spring of 1975, innocently and self-satisfyingly, the urbane doctor flaunts the opulent carpet with curly pile in his luxury apartment with its state-of-the-art waiting room.In this grand interior of a medical office, a man in a white coat plies his important trade. For example, that day a little girl is re-learning how to breathe. One might think that exhaling and inhaling is learned for life—je t'aime comme je respire, elle parle comme elle respire, il ment comme il respire1—from the very first cry at birth. But in fact, sometimes in life breathing gets stuck between the nasal cavity and the bronchial tubes, between the respiratory tract and the lungs. Progressively, imperceptibly, the organism is short of air, a malicious infection spreads and impairs [End Page 92] alveolar diffusion to the point of respiratory exhaustion: Is it serious, doctor? We must act quickly, very quickly. How to liquify what stopped up the system one day to the point of blocking it—the doctors know what to do.This doctor undertook long, arduous and learned studies. He knows functionally how a living being breathes, how a child lives organically. He can also re-teach the little girl what she no longer knows how to do: inhale, exhale using the full volume of the thoracic cage, regulating the ventilatory flow, solidifying the invisible membranes. In the child's family, everyone knows (and knows how to do) important things, but no one undertook extensive studies, much less studies of the aerial exchanges in the human body. This special knowledge possessed by the doctor (unless special means something else unspoken that would explain why this specific doctor was chosen rather than any other) surrounds him with a padding of respect that creates (and the little girl feels this) a sort of protective continuum between him and the walls within which he sees her, where he practices his kind of calm and slow urbane medicine. It's far from the formidable hospital she has just left, with its spherical apparatus next to the bed aspirating the red and yellow pleural liquid, the "treatment room" where the surgeon, the "butcher" as the nurses call him among themselves, manipulated the drain without anesthesia, with no regard for the child's suffering. The doctor, and his place in the elevated tower, even though they are not to be confused, make for a cozy reception space in which one is comfortable, even in passing.This doctor—who is, in truth, a massage-physiotherapist—is located in a designer high-rise building with a façade decorated by white, pointed features that manifest a will toward an architectural act. On the ground floor, the entrance hall is finished in dark-veined, clear brown marble, and the entry threshold between the exterior and interior is marked by large transparent glass panes that must be manipulated with care. The entrance hall has an intimidating sonority and a useless cold nudity from which one escapes in an elevator where one is surrounded by mirrors and gold buttons and in which one speeds upward silently toward floors, clouds.The designer high-rise is located at the outskirts, the outskirts of a city of recent Olympic stature, where several years earlier Olympic athletes were welcomed and trained to increase their respiratory capacity and... (shrink)

Listening is not an incorporeal experience; we do not listen with our non-extended minds. We listen with all our body, and music can change completely our personal structure. It is through sound experience that we change and asset ourselves. Studies in the doctrine of affects often use sonorous metaphors and concepts such as Stimmung, resonance, consonance, that refer to sound experience. In this paper, I try first of all to show how listening is rooted in body experience. (...) Then, I argue for a new consideration of the notion of person that takes into account the fundamental sonorous basis – psycho-acoustic – of its constitution. Thanks to sounds we can reach a new conceptualization of emotional relations between persons which we attain through the person’s ordo amoris. Additionally, with the analysis of sounds we grasp some aspects of emotional experience related to the singular person (intra-personal). So, if sounds are profoundly related to corporeal experience, so strongly involving affects as to modify our personal structure and form a person’s constitution, and affects can really do that, their relationship need to be inquired where both sound experience and affection are rooted: corporeity. (shrink)

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the (...) traditional, troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (shrink)

Being late. Looking back ; Brokenness ; Remembering -- Being early. Pushing forwards ; The temporality of desire ; Sounding utopia -- The precarious present. Simultaneity ; Boredom ; Historicism as modernism -- Being everywhere. The space of music ; Labyrinths ; Technologies of the musical body -- Being elsewhere. Music as transport ; The metaphysics of restlessness ; Re-enchantment -- Placing the self. Being nowhere ; Hypersubjectivity ; Staging the self -- Like a language. Disclosure ; Discourse ; (...) Music as self-critique -- Le corps sonore. The return of the repressed ; Bodies of sound ; The grammar of dreams. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

André Schaeffner (1895-1980), auteur du grand ouvrage Origine des instruments de musique paru en 1936, propose une réflexion sur l’instrument de musique qui est loin d’être confinée au seul champ de l’ethnologie. La considération de la musique de son temps, notamment en l’œuvre de Stravinsky, la méditation sur l’origine du théâtre et sur la tragédie, avec Nietzsche, contribuent à forger une conception de l’instrument qui est inséparable d’une philosophie de la musique. En explorant le thème central des « origines corporelles (...) » de la musique, cet article présente trois aspects principaux au vu desquels André Schaeffner s’avère problématiser le statut de l’instrument en relation avec le corps sonore et rythmicien : le refus du dualisme entre la voix et l’instrument, le refus d’une origine manuelle des instruments, enfin l’idée d’une organologie du théâtre. (shrink)

As study of knowledge, epistemology attempts at identifying its necessary and sufficient conditions and defining its sources, structure and limits. From this pointof view, until present, there are no applied approaches to the Romanian archaeology. Consequently, my present paper presents an attempt to explore the structural characteristics of the knowledge creation process through the analysis of the results of a series of interviews conducted on Romanian archaeologists. The interviews followed a qualitative approach built upon a semi-structured frame. Apparent data saturation (...) was reached after four interviews within initial target group (senior researchers with institutional authority). Under these conditions a decision was made to continue the interviews within a secondary control group (young doctoral or post-doc researchers guided by members of the initial target group) in order to both verify the observed data saturation and to assess the impact of the attitude of senior researchers towards scientific research on the younger generation. The preliminary results allow to assert that Romanian archaeology is still caught in a highly conservative and intradisciplinarian manner of knowledge production with a negative effect on both new knowledgeproduction and future specialists’ education. (shrink)

IntroductionThe world pandemic of the virus SARS-CoV-2, which causes COVID-19 infection was announced by the World Health Organization on March 11, 2020. Due to the restrictions that were introduced in order to minimize the spread of the virus, people more often suffer from stress, depression, anxiety, and sleep disorders. The aim of this study was evaluation of the stress levels and sleep disorders among nursing students during the pandemic SARS-CoV-2.Materials and Study MethodsThis is a cross-sectional study conducted among 397 nursing (...) students on March 2020. The research tools used were original questionnaires, Perceived Stress Scale, and the Athenian Insomnia Scale, as well as Coping with Stress Inventory.ResultsRespondents felt a high level of stress, which occurred in 68.8% of interviewees regarding whether there was a danger of contracting COVID-19. Respondents experienced 84% stress levels when a family member suffered from COVID-19. Sleep disorders were determined mainly by the fear of infection and contact with someone who might be infected with the virus. Nursing students who felt a high level of stress often suffered from sleep disorders more frequently than students who felt a low or average stress level. The respondents decided to cope with stress by denial, taking psychoactive substances, ceasing action, or blaming themselves. The greater the intensity of stress experienced by students, the more often they undertook avoidance behaviors or showed helplessness.ConclusionDuring the pandemic, students experienced severe stress, which resulted in sleep disorders and avoidance behaviors. (shrink)

Videogames and Agency explores the trend in videogames and their marketing to offer a player higher volumes, or even more distinct kinds, of player freedom. The book offers a new conceptual framework that helps us understand how this freedom to act is discussed by designers, and how that in turn reflects in their design principles. What can we learn from existing theories around agency? How do paratextual materials reflect design intention with regards to what the player can and cannot do (...) in a videogame? How does game design shape the possibility space for player action? Through these questions and selected case studies that include AAA and independent games alike, the book presents a unique approach to studying agency that combines game design, game studies, and game developer discourse. By doing so, the book examines what discourses around player action, as well as a game's design can reveal about the nature of agency and videogame aesthetics. This book will appeal to readers specifically interested in videogames, such as game studies scholars or game designers, but also to media studies students and media and screen studies scholars less familiar with digital games. (shrink)

As part of a research conducted in the field of professional didactics for the design of video-based training for saddlers, we mobilize an iterative and collaborative analysis protocol with professionals. We compare the effects produced during a debate between experts mediated by the researcher, based sometimes on a confrontation with video traces of the activity, sometimes on the temporary diagrams of a conceptual structure of the situation. Using the argumentative trilogue analysis framework, we show how these methodologies are able to (...) foster the expression of a process of conceptualization depending on whether professionals are confronted with lived images or concep-tualizations produced by the researcher. (shrink)

Globalization leads to cross-border business transactions between societies with very different norms and regulations regarding bribery. Bribery in international business transactions can be seen as a function of not only the demand for such bribes in different countries, but the supply, or willingness to provide bribes by multinational firms and their representatives. This study addresses the propensity of firms from 30 different countries to engage in international bribery. The study incorporates both domestic (economic development, culture, and domestic corruption in the (...) supplying country) and international factors (those countries’ patterns of trade and involvement in international accords) in explaining the willingness to bribe abroad. The propensity to provide bribes was the lowest when corruption was not tolerated in the multinational firms’ home countries, when the firms’ countries were signatories of the Organization for Economic Cooperation and Development (OECD) anti-bribery convention, and when those countries traded heavily with wealthier nations. Further, these findings are maintained when controlling for levels of economic development and cultural values in the supplying country. In terms of culture, firms from high power distance countries showed a somewhat greater propensity for providing bribes in transactions with less-developed nations. (shrink)

Many studies focused on the letter and sound co-occurrences to account for the well-documented syllable-based effects in French in visual (pseudo)word processing. Although these language-specific statistical properties are crucial, recent data suggest that studies which go all-in on phonological and orthographic regularities may be misguided in interpreting how – and why – readers locate syllable boundaries and segment clusters. Indeed, syllable-based effects could depend on more abstract, universal phonological constraints that rule and govern how letter and sound occur and co-occur, (...) and readers could be sensitive to sonority – a universal phonological element – for processing (pseudo)words. Here, we investigate whether French adult skilled readers rely on universal phonological sonority-related markedness continuum across the syllable boundaries for segmentation (e.g., from marked, illegal intervocalic clusters /zl/ to unmarked, legal intervocalic clusters /lz/). To address this question, we ran two tasks with 128 French adult skilled readers using two versions of the illusory conjunction paradigm (Task 1 without white noise; Task 2 with white noise). Our results show that syllable location and segmentation in reading is early and automatically modulated by phonological sonority-related markedness in the absence or quasi-absence of statistical information, and does not require acoustic-phonetic information. We discuss our results towards the overlooked role of phonological universals and the over-trusted role of statistical information during reading processes. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for (...) feminist teaching. A person’s actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

Cognitive Science, Volume 46, Issue 7, July 2022.

La notion d'espace sonore est devenue de plus en plus prégnante dans le domaine musical, plus particulièrement dans la musique électroacoustique. Mais comment la définir? Cette simple interrogation, dont la réponse semble évidente soulève cependant, lorsqu'elle est approfondie, une multitude d'ambiguïtés, sources de nouvelles réflexions. Comment l'écoute appréhende-t-elle l'espace? Comment s'immerge-t- elle en lui? Qu'appréhende-t-on lorsqu'on écoute? Et finalement, qu'est-ce qu'un son? Quelles en sont les limites spatiales et temporelles? Lorsque l'écoute se confronte à l'espace sonore, où se situe la (...) frontière entre perception et imagination? Tout au long du présent ouvrage, l'auteur essaie de mettre en évidence l'empreinte effective de l'écoute dans la structuration de l'espace. Il tente de montrer, en s'appuyant sur les théories esthétiques, pourquoi l'espace n'est pas pris en compte par les pensées sur la musique avant le XXe siècle. A partir de cette observation et des dernières recherches phénoménologiques de Maurice Merleau-Ponty, il met en lumière le rôle essentiel du corps de l'auditeur dans notre perception de l'espace. Ensuite, il témoigne de la façon dont les compositeurs, à partir de la seconde moitié du XXe siècle et jusqu'à aujourd'hui, n'ont cessé de développer une implication active de l'écoute, ce qui a progressivement favorisé l'émergence d'un espace musical dynamique et mouvant. Puis, au terme de sa réflexion, à l'aide des travaux sur l'énaction du neurobiologiste Francisco J. Varela, Renaud Meric s'emploie à reconstruire le lien esthétique étroit entre l'espace, l'écoute et l'imagination, lien encore peu examiné, pourtant fondamental pour comprendre notre relation complexe à la musique. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for (...) feminist teaching. A person’s actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

It has been well documented how language-specific cues may be used for word segmentation. Here, we investigate what role a language-independent phonological universal, the sonority sequencing principle (SSP), may also play. Participants were presented with an unsegmented speech stream with non-English word onsets that juxtaposed adherence to the SSP with transitional probabilities. Participants favored using the SSP in assessing word-hood, suggesting that the SSP represents a potentially powerful cue for word segmentation. To ensure the SSP influenced the segmentation process (i.e., (...) during learning), we presented two additional groups of participants with either (a) no exposure to the stimuli prior to testing or (b) the same stimuli with pauses marking word breaks. The SSP did not influence test performance in either case, suggesting that the SSP is important for word segmentation during the learning process itself. Moreover, the fact that SSP-independent segmentation of the stimulus occurred (in the latter control condition) suggests that universals are best understood as biases rather than immutable constraints on learning. (shrink)

I. Le problème de Strawson et la phénoménologie Dans le deuxième chapitre de Individuals, Peter Strawson pose la question du rapport du son à l’espace, et à travers elle, celle de la cohérence de la notion kantienne de sens externe. Le son serait un objet essentiellement temporel, auquel une spatialité ne pourrait être ajoutée que par analogie ou de manière seulement synesthésique ou kinesthésique. L’analyse de Strawson repose sur l’opposition entre les représentations sonores et tactiles de...