Audition

Here we investigate associations between complex auditory and complex taste stimuli. A novel piece of music was composed and recorded in four different styles of musical articula-tion to reflect the four basic tastes groups (sweet, sour, salty, bitter). In Experiment 1, participants performed above chance at pairing the music clips with corresponding taste words. Experiment 2 uses multidimensional scaling to interpret how participants categorize these musical stimuli, and to show that auditory categories can be organized in a similar manner as taste categories. Experiment 3 introduces four different flavors of custom-made chocolate ganache and shows that participants can match music clips with the corresponding taste stimuli with above-chance accuracy. Experiment 4 demonstrates the partial role of pleasantness in crossmodal mappings between sound and taste. The present findings confirm that individuals are able to make crossmodal associations between complex auditory and gusta-tory stimuli, and that valence may mediate multisensory integration in the general population.

La lettura critica si propone di analizzare il libro Di Bona e Santarcangelo Il suono. L’esperienza uditiva e i suoi oggetti, mettendone in luce i particolari aspetti di unicità, sistematicità e completezza. Prima introduzione in lingua italiana concernente tematiche di filosofia della percezione uditiva, ha, fra gli altri, il pregio di restituire un quadro aggiornato, organico e interdisciplinare dell’ambito di ricerca presentato. Sezioni dai contenuti più prettamente psicologici e neuroscientifici si alternano ad altre squisitamente filosofiche creando un intreccio scorrevole e ben strutturato. I riferimenti a situazioni uditive ordinarie e musicali completano lo sguardo d’insieme sul testo, guidando il lettore nel ragionamento.

The review is intended to present the book Il suono. L’esperienza uditiva e i suoi oggetti by Di Bona and Santarcangelo. It highlights specific aspects such as the uniqueness and completeness of the book, as well as the systematic approach employed in it. Di Bona and Santarcangelo’s work is the first handbook in Italian language concerning the philosophy of auditory perception. Furthermore, it has the virtue to present an organic, up-to-date and interdisciplinary summary of the field of research analysed. Some of its sections are centred on the psychological and neuroscientific literature, while others are more focused on the proper philosophical debate: the overview provides a well-structured and fluid text. References to ordinary auditory situations and to specific musical pieces help the reader to follow the arguments presented and complete the book.

The theme of sight plays a central role throughout the book of Acts. While some scholars have identified this theme, especially with respect to visions, they typically overlook the intersection of sight and audition. This article argues that Luke pairs seeing with hearing and emphasizes the sense of hearing to an even greater degree. The article first addresses sight and visions in Acts and then focuses on Stephen’s vision in Acts 7. This is the one vision in Acts that does not involve divinely bestowed words, yet it still betrays Luke’s preference for hearing—and speaking—God’s word. The article then explores key themes that emerge from Stephen’s vision regarding the visual and verbal modes of perception in Acts as a whole. Overall, Luke’s emphasis on the spoken “word” reflects his reliance on Jewish scriptural traditions that likewise highlight listening as a key epistemological posture.

تبدأ مرحلة الفحص الميداني بانتقال الفاحص لمعاينة مركز نشاط الممول على الطبيعة ويختلف هنا مركز نشاط الممول حسب الحالة التي تحت الفاحص و نوع المعلومات التي يمكن للفاحص الحصول عليها . وقد تتكرر هذه الزيارات للتعرف على أنواع النشاط لمختلفة التي يزاولها ومراحل الإنتاج وحجم المنشأة وموقعها والوقوف على حجم المعاملات المالية للممول في فترات مختلفة ويقوم الفاحص بتسجيل ملاحظاته والمعلومات التي اكتسبها من هذه الزيارات وتواريخها وبعض شواهد وقرائن الإثبات لهذه الملاحظات حتى لا يترك لخياله العنان في التخمين والاستنباط.
ثم يأتي بعد ذلك دور فحص الأوراق والمستندات والحسابات البنكية للعملاء والسجلات التي يمسكها الممول . فيبدأ الفاحص بالتثبت من عدم اختلاف الأسس المحاسبية التي اتبعها الممول في إمساك الدفاتر في السنة التي تحت الفحص عن السنوات السابقة. وما إذا كانت الإدارة الضريبية قد سبق لها اعتماد هذه الأسس المحاسبية والدفاتر في السنوات السابقة ، وما إذا كانت ملاحظات الفاحصين السابقين على الدفاتر قد تم تسويتها بطريقة صحيحة. أما إذا وجد اختلاف في الأسس المحاسبية التي أتبعت  في سنة الفحص عن السنوات السابقة فعلية أن يدرس ويحدد آثار هذه التغيرات على قانونية الدفاتر من وجه النظر الضريبية وعلى سلامة النتيجة التي تظهرها.

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Aun teniendo en cuenta la mínima presencia de la educación musical en la etapa de primaria, la audición es uno de los contenidos fundamentales en ella, ya que, prácticamente, todos los ámbitos y apartados que integran el currículo del área dependen de esta actividad.
Como trataremos de exponer a lo largo del desarrollo de este artículo, la audición musical deriva de la propia naturaleza de la música. Así, cuando un compositor de cualquier órbita realiza una obra o alguien interpreta cualquier pieza lo
hace motivado por una necesidad de expresar o construir algo a través del medio que le es propio: el sonido. Pero sin la escucha y sin la figura del auditor, sea éste una individualidad o un grupo de miles de personas, la música no cerraría el ciclo que le es propio.
La audición musical en la etapa de Educación Primaria:
De esta forma, una audición convenientemente preparada y desarrollada abre las puertas no solo a una mayor
conciencia de la propia audición, sino también, y en estrecho paralelismo, a un mayor conocimiento, sensibilización
y vivencia del fenómeno sonoro en su totalidad. Por tanto, la audición puede ser, al tiempo, un fin y un medio
para una gran cantidad de descubrimientos. Además, es sustancial e importantísima la labor de los padres en
casa. Su ejemplo, capacidad de apertura y la cantidad y calidad de experiencias musicales que compartan con sus
hijos, estudien o no en una escuela de música o en un conservatorio, es sustancial para la formación de los niños.
Palabras Clave
Audición musical · Escucha · Didáctica
· Audición activa · Conciertos didácticos

This is a book about the metaphysics of perception and discusses touch, audition, and vision. Though primarily concerned with the nature of perception, it draws heavily from the history of philosophy of perception, and connects the concerns of analytical and continental philosophers.

http://knol.google.com/k/alejandro-melo-florián/sobre-aparato-auditivo-y-alteraciones/3sktw3ldc86j2/165

The vestibular system is responsible to feedback sensing motion
of the head while keeping stability of images on the fovea of the retina and postural control during that motion. When functioning normally, the vestibular receptors in the inner ear (semicircular channels) provide an exquisitely accurate representation of the motion of the head in 3 dimensions.

We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them.

Following Berkeley, contemporary philosophers of perception typically endorse the view that the only immediate objects of hearing are sounds. In this case, we hear things only in virtue of hearing the sounds that they make. This paper argues that careful attention to features of auditory phenomenology should lead us to reject this view as a throwback to an otherwise discredited empiricism. Instead, we should embrace the view that we hear sound-producing events in hearing the sounds that they make, just as we see things in seeing the colors that they have. Contra Berkeley, the auditory experience of a sound source is not mediated by the experience of a sound any more than the visual experience of an object is mediated by an experience of its color.

Already the first correspondence between Princess Elisabeth of Bohemia and René Descartes in 1643 inaugurated the discourse of the mind-body-distinction, which until today remains as one of the unresolved problems in modern epistemology. In her letter dated 6th May 1643, Princess Elisabeth raises a number of questions about the nature of the relation between the mind and the body, especially on the question of how the soul of man, being only a thinking substance, can determine his bodily spirits to perform voluntary actions. She argues that matter and extension should be attributed to the mind, which moves the body and is moved by it. The proposed work is an attempt to re-examine this discourse by initially emphasizing a contextual difference between the Cartesian notion, namely the distinction between the extended body and an immaterial soul, and the polemic of the Princess against it. This contextual difference refers primarily to a more fundamental distinction between the origin and the domain of a pre-logical and purely aesthetical subjectivity. With reference to our bodily volition and sensation, the Cartesian notion of "res cogitans" appears to have rooted in the origin of an aesthetical subjectivity alone. In contrast to it, the domain of our volition has invariably a bodily extension, and the domains of our sensations are, furthermore, extended bodily as well as spatially. The main objectives of this work are to discuss the ontic status of such bodily and spatially extended domains of our aesthetical subjectivity and to identify the epistemological mode of their unity with the objective, i.e. physical phenomena - also with reference to Kant's epistemology - as an aesthetic-synthetic nexus.

New World monkeys are a diverse primate group and a model for understanding hearing in mammals. However, comparable audiograms do not exist for the larger monkeys, making it difficult to test the hypothesized relationship between interaural distance and high-frequency hearing limit (i.e., the allometric model). Here, the auditory brainstem response (ABR) method is used to assess auditory sensitivity in four tufted capuchins (Sapajus apella), a large monkey with a large interaural distance. A primate-typical four-peak pattern in the ABR waveforms was found with peak latencies from ca. 2 to 12 ms after stimulus onset. Response amplitude decreased linearly with decreasing stimulus level (mean r2 = 0.93, standard deviation 0.14). Individual variation in each threshold was moderate (mean +/- 7 dB). The 10-dB bandwidth of enhanced sensitivity was 2-16 kHz—a range comparable to smaller monkeys and congruent with the bandwidth of their vocal repertoire. In accord with the general principles of the allometric model, the 60-dB high-frequency limit of S. apella (26 kHz) is lower than those of smaller-headed monkeys; however, it is substantially lower than 44.7 kHz, the value predicted by the allometric model. These findings and other exceptions to the allometric model warrant cautious application and further investigation of other potential selective factors.

Building on the notational principles of C. S. Peirce’s graphical logic, Pietarinen has tried to develop a propositional logic unfolding in the medium of sound. Apart from its intrinsic interest, this project serves as a concrete test of logic’s range. However, I argue that Pietarinen’s inaugural proposal, while promising, has an important shortcoming, since it cannot portray double-negation without thereby portraying a contradiction.

I defend and develop a traditional view in the metaphysics of sound, The Wave Theory of Sound. According The Wave Theory, as developed herein, sounds are not patterned disturbances so much as their propagation. And the propagation of a patterned disturbance is not a form of travel, but a dynamic information , the wave-form successively inhering in differently located parts of the dense and elastic medium. This conception, along with the assumption that we hear not only sounds but their sources, has the resources to address many of the most recent criticisms of this traditional view.

A widespread view among philosophers and scientists is that recorded sounds and assisted hearing differ fundamentally from natural sounds and direct hearing. It is commonly claimed, for example, that the sounds we hear over the phone are not sounds emitted by the voice of our interlocutor, but the sounds reproduced by the phone’s loudspeaker. According to this view, hearing distant sounds through communication and audio equipment is at best indirect and at worst illusory. In what follows, I shall reject these claims and argue in favor of a transparent view of auditory media, including radio, telephone, phonograph, etc. According to this approach, the great gift of Scott de Martinville and Edison is not to have invented devices able to reproduce vanished sounds but rather to have created technological instruments literally able to store and transmit them to future and distant listeners.

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In this paper I argue that empty space can be an object of auditory perception.  This position contrasts with that of Nudds, who explicitly denies that empty space can be heard, as well as the generally held view that the only things that can be heard are sounds and their properties, echoes, and possibly their sources.  Specifically, I claim that in hearing sounds reverberate in enclosed environments we are able to perceive the volume of space surrounding us. It is clear that in hearing sounds in an enclosed space we gain some awareness of the size of that space -we can hear whether a sound was made in a large environment, such as a cathedral, or a small one, such as a garden shed- and so any account which denies we hear empty space must instead show how beliefs about volumes of space are derived indirectly from what we do hear.  That is, if space is not the object of perception when we hear sounds reverberate, what is? I consider whether hearing reverberation can be thought of as hearing a distinct sound, hearing echoes, or hearing a quality of a sound. I will show that it is implausible to think that beliefs about space can be based on the perception of any of these types and, in lieu of any other uncontroversially audible elements to consider, that empty space should therefore be admitted as an object of auditory perception. In the final section I outline a positive account, suggesting that we can hear volumes of space through hearing sounds.

In their article, Schergill et al present evidence that auditory hallucinations might be related to a lack of awareness that inner speech has been generated. Using functional magnetic resonance imaging, they compared voxels during spontaneous auditory hallucinations and normal inner speech. Their results indicate that some regions of the auditory and speech processing pathways are abnormally inactivated during hallucinations, whereas another regions are abnormally activated. In both cases, independent networks explain the “division of the consciousness or the will” during hallucinations.

Sarah M Haigh; David J Heeger; Laurie Heller;
Akshat Gupta; Ilan Dinstein; Nancy J Minshew; Marlene Behrmann.

Previous research has suggested that autism is associated with
abnormalities in sensory and attentional processing. Here, we assessed these processes independently in the visual and auditory domains using a visual contrast-discrimination task and an auditory modulation-depth discrimination task. To evaluate changes in sensory function by attention, we measured behavioral performance (discrimination accuracy) when subjects were cued to attend and respond to the same stimulus (frequent valid cue) or cued to attend to one stimulus and respond to the non-cued stimulus (infrequent invalid cue). The stimuli were presented at threshold to ensure equal difficulty across participants and groups. Results from fifteen high-functioning adult individuals with autism and fifteen matched controls revealed no significant differences in visual or auditory discrimination thresholds across groups. Furthermore, attention robustly modulated performance accuracy (performance was better for valid than invalid cues) in both sensory modalities and to an  equivalent extent in both groups. In conclusion, when using this well-controlled method, we found no evidence of atypical sensory function or atypical attentional modulation in a group of high functioning individuals with clear autism symptomatology.

The dynamic changes in natural sounds’ temporal structures convey important event-relevant information. However, prominent researchers have previously expressed concern that non-speech auditory perception research disproportionately uses simplistic stimuli lacking the temporal variation found in natural sounds. A growing body of work now demonstrates that some conclusions and models derived from experiments using simplistic tones fail to generalize, raising important questions about the types of stimuli used to assess the auditory system. To explore the issue empirically, we conducted a novel, large-scale survey of non-speech auditory perception research from four prominent journals. A detailed analysis of 1017 experiments from 443 articles reveals that 89% of stimuli employ amplitude envelopes lacking the dynamic variations characteristic of non-speech sounds heard outside the laboratory. Given differences in task outcomes and even the underlying perceptual strategies evoked by dyn...