Casey O'Callaghan
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199215928
- eISBN:
- 9780191706875
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215928.001.0001
- Subject:
- Philosophy, Philosophy of Mind
Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment ...
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Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned.Less
Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned.
Marc Marschark and Peter C Hauser (eds)
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195368673
- eISBN:
- 9780199894161
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368673.001.0001
- Subject:
- Psychology, Developmental Psychology
This book examines the cognitive underpinnings of deaf individuals' learning. The book is written by scientists from different disciplines, which rarely interact in other realms. In this book they ...
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This book examines the cognitive underpinnings of deaf individuals' learning. The book is written by scientists from different disciplines, which rarely interact in other realms. In this book they share their ideas. This book contributes to the science of learning by describing and testing theories that might either over or underestimate the role that audition or vision plays in learning and memory, and by shedding light on multiple pathways for learning. International experts in cognitive psychology, brain sciences, cognitive development, and deaf children offer a unique, integrative examination of cognition and learning, with discussions on their implications for deaf education. Each chapter focuses primarily on the intersection of research in cognitive psychology, developmental psychology, and deaf education. The general theme of the book is that deaf and hearing individuals differ to some extent in early experience, brain development, cognitive functioning, memory organization, and problem solving. Identifying similarities and differences among these domains provides new insights into potential methods for enhancing achievement in this traditionally under-performing population.Less
This book examines the cognitive underpinnings of deaf individuals' learning. The book is written by scientists from different disciplines, which rarely interact in other realms. In this book they share their ideas. This book contributes to the science of learning by describing and testing theories that might either over or underestimate the role that audition or vision plays in learning and memory, and by shedding light on multiple pathways for learning. International experts in cognitive psychology, brain sciences, cognitive development, and deaf children offer a unique, integrative examination of cognition and learning, with discussions on their implications for deaf education. Each chapter focuses primarily on the intersection of research in cognitive psychology, developmental psychology, and deaf education. The general theme of the book is that deaf and hearing individuals differ to some extent in early experience, brain development, cognitive functioning, memory organization, and problem solving. Identifying similarities and differences among these domains provides new insights into potential methods for enhancing achievement in this traditionally under-performing population.
Ádám Miklósi
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199295852
- eISBN:
- 9780191711688
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199295852.003.0006
- Subject:
- Biology, Animal Biology
This chapter provides a short overview on the perceptual abilities of dogs. Vision, audition, and olfaction are described in detail, including the possible experimental methods which could be used ...
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This chapter provides a short overview on the perceptual abilities of dogs. Vision, audition, and olfaction are described in detail, including the possible experimental methods which could be used for studying such phenomena as colour vision, form recognition, hearing acuity, or olfactory sensitivity. Understanding of perceptual abilities can be important in relating the animal's behaviour to its original (ancestral) environment, but also in designing experiments which rely on the dog's ability to perceive stimuli or events manipulated by the experimenter.Less
This chapter provides a short overview on the perceptual abilities of dogs. Vision, audition, and olfaction are described in detail, including the possible experimental methods which could be used for studying such phenomena as colour vision, form recognition, hearing acuity, or olfactory sensitivity. Understanding of perceptual abilities can be important in relating the animal's behaviour to its original (ancestral) environment, but also in designing experiments which rely on the dog's ability to perceive stimuli or events manipulated by the experimenter.
Casey O'Callaghan
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199215928
- eISBN:
- 9780191706875
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215928.003.0011
- Subject:
- Philosophy, Philosophy of Mind
Sounds are the immediate objects of audition. What else do we hear? Sounds differ from ordinary material objects and their features, but audition informs us about ordinary things and happenings. This ...
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Sounds are the immediate objects of audition. What else do we hear? Sounds differ from ordinary material objects and their features, but audition informs us about ordinary things and happenings. This chapter argues that a surprising class of cross-modal perceptual illusions provides the materials to resolve a puzzle concerning how audition furnishes awareness as of things and happenings beyond sounds. Explaining cross-modal interactions requires recognizing aspects of perceptual experience that cannot be understood entirely in modality-specific terms. The perceptual modalities are not autonomous modes of awareness and domains of inquiry. Comprehending what is most striking about perceptual experience — its capacity to furnish a sense of openness to a unified world of things and happenings — requires comprehending the interactions and relationships among perceptual modalities.Less
Sounds are the immediate objects of audition. What else do we hear? Sounds differ from ordinary material objects and their features, but audition informs us about ordinary things and happenings. This chapter argues that a surprising class of cross-modal perceptual illusions provides the materials to resolve a puzzle concerning how audition furnishes awareness as of things and happenings beyond sounds. Explaining cross-modal interactions requires recognizing aspects of perceptual experience that cannot be understood entirely in modality-specific terms. The perceptual modalities are not autonomous modes of awareness and domains of inquiry. Comprehending what is most striking about perceptual experience — its capacity to furnish a sense of openness to a unified world of things and happenings — requires comprehending the interactions and relationships among perceptual modalities.
Casey O'Callaghan
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199215928
- eISBN:
- 9780191706875
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215928.003.0001
- Subject:
- Philosophy, Philosophy of Mind
Attempts to understand audition in visual terms lead to puzzlement about the place of sounds in the world. Failing to find sounds among visual objects and features seduces some philosophers to hold ...
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Attempts to understand audition in visual terms lead to puzzlement about the place of sounds in the world. Failing to find sounds among visual objects and features seduces some philosophers to hold that sounds are mere mental artifacts. Vision, however, is a dubious paradigm for theorizing about sounds and audition. Freedom from visuocentric constraints allows us to take sounds and audition seriously as subjects worthy of philosophical interest in their own rights. Such a perspective reveals a realist conception of sounds that does justice to audition's capacity to perceptually inform us about the world.Less
Attempts to understand audition in visual terms lead to puzzlement about the place of sounds in the world. Failing to find sounds among visual objects and features seduces some philosophers to hold that sounds are mere mental artifacts. Vision, however, is a dubious paradigm for theorizing about sounds and audition. Freedom from visuocentric constraints allows us to take sounds and audition seriously as subjects worthy of philosophical interest in their own rights. Such a perspective reveals a realist conception of sounds that does justice to audition's capacity to perceptually inform us about the world.
Casey O'Callaghan
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199215928
- eISBN:
- 9780191706875
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215928.003.0003
- Subject:
- Philosophy, Philosophy of Mind
Audition is a spatial perceptual modality. We learn about the locations of sound sources through audition because sounds appear in auditory experience to be located at a distance in a given ...
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Audition is a spatial perceptual modality. We learn about the locations of sound sources through audition because sounds appear in auditory experience to be located at a distance in a given direction, near their sources. Sounds do not phenomenologically appear in audition to travel or to fill space. The wave view of sounds, however, entails that sounds change locations in the medium over time. Unless auditory experience is systematically illusory with respect to the locations of sounds, sounds do not travel. Furthermore, unless auditory experience involves the projective error of mistaking temporal features of one's auditory experience for temporal features of sounds, sounds do not travel.Less
Audition is a spatial perceptual modality. We learn about the locations of sound sources through audition because sounds appear in auditory experience to be located at a distance in a given direction, near their sources. Sounds do not phenomenologically appear in audition to travel or to fill space. The wave view of sounds, however, entails that sounds change locations in the medium over time. Unless auditory experience is systematically illusory with respect to the locations of sounds, sounds do not travel. Furthermore, unless auditory experience involves the projective error of mistaking temporal features of one's auditory experience for temporal features of sounds, sounds do not travel.
Dave Saint-Amour, Jean-Paul Guillemot, Maryse Lassonde, and Franco Lepore
- Published in print:
- 2006
- Published Online:
- September 2009
- ISBN:
- 9780198528999
- eISBN:
- 9780191723926
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198528999.003.0023
- Subject:
- Neuroscience, Disorders of the Nervous System
The idea that early-blind subjects may be able to compensate their loss of vision by developing a greater efficiency in the use of their other sensory modalities — primarily touch and audition — was ...
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The idea that early-blind subjects may be able to compensate their loss of vision by developing a greater efficiency in the use of their other sensory modalities — primarily touch and audition — was expressed more than two centuries ago by Diderot in his ‘Lettre sur les Aveugles’ (1749). This chapter explores this notion by asking whether or not blind people develop compensatory capacities that render them more proficient in the processing of auditory stimuli than sighted people. It then discusses the possible mechanisms by which intermodal compensation may be achieved.Less
The idea that early-blind subjects may be able to compensate their loss of vision by developing a greater efficiency in the use of their other sensory modalities — primarily touch and audition — was expressed more than two centuries ago by Diderot in his ‘Lettre sur les Aveugles’ (1749). This chapter explores this notion by asking whether or not blind people develop compensatory capacities that render them more proficient in the processing of auditory stimuli than sighted people. It then discusses the possible mechanisms by which intermodal compensation may be achieved.
Arvind Sharma
- Published in print:
- 2005
- Published Online:
- October 2012
- ISBN:
- 9780195676389
- eISBN:
- 9780199081974
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195676389.003.0016
- Subject:
- Religion, Hinduism
Ramana Maharsi (1879–1950) is credited for simplifying the path of knowledge in modern Hinduism. This point can be made by taking a look at the locus classicus of the path of knowledge in classical ...
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Ramana Maharsi (1879–1950) is credited for simplifying the path of knowledge in modern Hinduism. This point can be made by taking a look at the locus classicus of the path of knowledge in classical Hinduism, namely, Brhadāranyaka Upaniṣad (IV.5.6): Ātmā va are drasṭavyah Śrotavyo mantavyo nididhyâsitavyah— ‘Verity the Self is to be seen, to be heard, to be reflected on, to be meditated upon’. Based on the classical Hindu understanding of this passage, it spells out the various stages of self-realization through the path of knowledge. According to the Bhāmati school of Advaita Vedānta, this involves three stages: audition, reflection, and meditation. Maharsi offers his own interpretation of the passage: ‘To be seen’, or drasṭavahalone. ‘See who you are. If you look deeply into yourself you will find that you identify yourself with the ego that is really nonexistent’.Less
Ramana Maharsi (1879–1950) is credited for simplifying the path of knowledge in modern Hinduism. This point can be made by taking a look at the locus classicus of the path of knowledge in classical Hinduism, namely, Brhadāranyaka Upaniṣad (IV.5.6): Ātmā va are drasṭavyah Śrotavyo mantavyo nididhyâsitavyah— ‘Verity the Self is to be seen, to be heard, to be reflected on, to be meditated upon’. Based on the classical Hindu understanding of this passage, it spells out the various stages of self-realization through the path of knowledge. According to the Bhāmati school of Advaita Vedānta, this involves three stages: audition, reflection, and meditation. Maharsi offers his own interpretation of the passage: ‘To be seen’, or drasṭavahalone. ‘See who you are. If you look deeply into yourself you will find that you identify yourself with the ego that is really nonexistent’.
Arvind Sharma
- Published in print:
- 2001
- Published Online:
- October 2012
- ISBN:
- 9780195658712
- eISBN:
- 9780199082018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195658712.003.0016
- Subject:
- Religion, Hinduism
This chapter discusses the concept of jñāna-yoga. One of the ways of overcoming the divide between the transcendental and the empirical is through the path of knowledge or jñāna-yoga. Traditionally, ...
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This chapter discusses the concept of jñāna-yoga. One of the ways of overcoming the divide between the transcendental and the empirical is through the path of knowledge or jñāna-yoga. Traditionally, on the basis of a famous Upanishadic text, it is said to consist of three stages: śravana or audition, manana or reflection, and nididhyāsana or dhyāna, that is, meditation. There is a difference of opinion among those who follow the path of knowledge on the relative roles of these three steps. According to one school, the first step, śravana, may suffice to bring about realization. Others hold that mere audition may not suffice.Less
This chapter discusses the concept of jñāna-yoga. One of the ways of overcoming the divide between the transcendental and the empirical is through the path of knowledge or jñāna-yoga. Traditionally, on the basis of a famous Upanishadic text, it is said to consist of three stages: śravana or audition, manana or reflection, and nididhyāsana or dhyāna, that is, meditation. There is a difference of opinion among those who follow the path of knowledge on the relative roles of these three steps. According to one school, the first step, śravana, may suffice to bring about realization. Others hold that mere audition may not suffice.
Lorraine E. Bahrick and Robert Lickliter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199586059
- eISBN:
- 9780191741470
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586059.003.0008
- Subject:
- Psychology, Cognitive Psychology, Developmental Psychology
The early development of attentional selectivity is thought to be strongly influenced by the infant’s sensitivity to salient properties of stimulation such as contrast, movement, intensity, and ...
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The early development of attentional selectivity is thought to be strongly influenced by the infant’s sensitivity to salient properties of stimulation such as contrast, movement, intensity, and intersensory redundancy (overlapping information across auditory, visual, tactile and/or proprioceptive stimulation for properties of objects and events). In this chapter, the powerful role of intersensory redundancy in guiding and shaping early selective attention, and, in turn, perception and learning is explored. The recent empirical and theoretical efforts to better understand what guides the allocation of selective attention during early development are reviewed and the implications of early selective attention for perceptual, cognitive, and social development are briefly discussed.Less
The early development of attentional selectivity is thought to be strongly influenced by the infant’s sensitivity to salient properties of stimulation such as contrast, movement, intensity, and intersensory redundancy (overlapping information across auditory, visual, tactile and/or proprioceptive stimulation for properties of objects and events). In this chapter, the powerful role of intersensory redundancy in guiding and shaping early selective attention, and, in turn, perception and learning is explored. The recent empirical and theoretical efforts to better understand what guides the allocation of selective attention during early development are reviewed and the implications of early selective attention for perceptual, cognitive, and social development are briefly discussed.
Sean Alexander Gurd
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780823269655
- eISBN:
- 9780823271870
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823269655.001.0001
- Subject:
- Philosophy, Aesthetics
In the four centuries leading up to the death of Euripides in 406 BCE, Greek singers, poets, and theorists delved deep into auditory experience. They charted its capacity to develop topologies ...
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In the four centuries leading up to the death of Euripides in 406 BCE, Greek singers, poets, and theorists delved deep into auditory experience. They charted its capacity to develop topologies distinct from those of the other senses; contemplated its use as a communicator of information; calculated its power to express and cause extreme emotion. They made sound too, artfully and self-consciously creating songs and poems that revelled in sonorousness. Dissonance is about these extraordinary experiments in auditory experience. In three chapters—on auditory figures, affect, and melody respectively—the book aims to show the many points of commonality between ancient Greek auditory art and the concerns of contemporary sound studies, avant-garde music, and aesthetics, making the argument that “classical” Greek song and drama was, in fact, an early European avant-garde, a proto-exploration of the aesthetics of noise. The book thus develops an alternative to that romantic ideal which sees antiquity as a frozen world, a world we can contemplate as though we were the enchanted speaker in Keats’ “Ode on a Grecian Urn,” for whom the silent stillness of an ancient vase symbolizes the survival of truths more lasting than the generations of humankind.Less
In the four centuries leading up to the death of Euripides in 406 BCE, Greek singers, poets, and theorists delved deep into auditory experience. They charted its capacity to develop topologies distinct from those of the other senses; contemplated its use as a communicator of information; calculated its power to express and cause extreme emotion. They made sound too, artfully and self-consciously creating songs and poems that revelled in sonorousness. Dissonance is about these extraordinary experiments in auditory experience. In three chapters—on auditory figures, affect, and melody respectively—the book aims to show the many points of commonality between ancient Greek auditory art and the concerns of contemporary sound studies, avant-garde music, and aesthetics, making the argument that “classical” Greek song and drama was, in fact, an early European avant-garde, a proto-exploration of the aesthetics of noise. The book thus develops an alternative to that romantic ideal which sees antiquity as a frozen world, a world we can contemplate as though we were the enchanted speaker in Keats’ “Ode on a Grecian Urn,” for whom the silent stillness of an ancient vase symbolizes the survival of truths more lasting than the generations of humankind.
Allison K. Deutermann
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474411264
- eISBN:
- 9781474422154
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411264.001.0001
- Subject:
- Literature, Criticism/Theory
Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and ...
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Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and particularly to two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by William Shakespeare and Thomas Kyd imagine sound stabbing, piercing and slicing into listeners' bodies on and off the stage; while comedies by Ben Jonson and John Marston imagine it being sampled selectively and according to taste. Listening for Theatrical Form in Early Modern England traces the interconnected development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises and manuals on rhetoric and poetics.Less
Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and particularly to two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by William Shakespeare and Thomas Kyd imagine sound stabbing, piercing and slicing into listeners' bodies on and off the stage; while comedies by Ben Jonson and John Marston imagine it being sampled selectively and according to taste. Listening for Theatrical Form in Early Modern England traces the interconnected development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises and manuals on rhetoric and poetics.
Graham R. Martin
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780199694532
- eISBN:
- 9780191839979
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199694532.001.0001
- Subject:
- Biology, Ornithology, Animal Biology
The natural world contains a huge amount of constantly changing information. Limitations on, and specializations within, sensory systems mean that each species receives only a small part of that ...
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The natural world contains a huge amount of constantly changing information. Limitations on, and specializations within, sensory systems mean that each species receives only a small part of that information. In essence, information is filtered by sensory systems. Sensory ecology aims to understand the nature and functions of those filters for each species and sensory system. Fluxes of information, and the perceptual challenges posed by different natural environments, are so large that sensory and behavioural specializations have been inevitable. There have been many trade-offs in the evolution of sensory capacities, and trade-offs and complementarity between different sensory capacities within species. Many behavioural tasks may have influenced the evolution of sensory capacities in birds, but the principal drivers have been associated with just two tasksforaging and predator detection. The key task is the control of the position and timing of the approach of the bill towards a target. Other tasks, such as locomotion and reproduction, are achieved within the requirements of foraging and predator detection. Information thatguides behaviours may often be sparse and partial and key behaviours may only be possible because of cognitive abilities which allow adequate interpretation of partial information. Human modifications of natural environments present perceptual challenges that cannot always be met by the information available to particular birds. Mitigations of the negative effects of human intrusions into natural environments must take account of the sensory ecology of the affected species. Effects of environmental changes cannot be understood sufficiently by viewing them through the filters of human sensory systems.Less
The natural world contains a huge amount of constantly changing information. Limitations on, and specializations within, sensory systems mean that each species receives only a small part of that information. In essence, information is filtered by sensory systems. Sensory ecology aims to understand the nature and functions of those filters for each species and sensory system. Fluxes of information, and the perceptual challenges posed by different natural environments, are so large that sensory and behavioural specializations have been inevitable. There have been many trade-offs in the evolution of sensory capacities, and trade-offs and complementarity between different sensory capacities within species. Many behavioural tasks may have influenced the evolution of sensory capacities in birds, but the principal drivers have been associated with just two tasksforaging and predator detection. The key task is the control of the position and timing of the approach of the bill towards a target. Other tasks, such as locomotion and reproduction, are achieved within the requirements of foraging and predator detection. Information thatguides behaviours may often be sparse and partial and key behaviours may only be possible because of cognitive abilities which allow adequate interpretation of partial information. Human modifications of natural environments present perceptual challenges that cannot always be met by the information available to particular birds. Mitigations of the negative effects of human intrusions into natural environments must take account of the sensory ecology of the affected species. Effects of environmental changes cannot be understood sufficiently by viewing them through the filters of human sensory systems.
Dianna T. Kenny
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199586141
- eISBN:
- 9780191731129
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586141.003.0053
- Subject:
- Psychology, Music Psychology, Clinical Psychology
This final chapter is devoted to some thoughts about the prevention of severe forms of music performance anxiety and the psychological aspects that need to be attended to in the raising and pedagogy ...
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This final chapter is devoted to some thoughts about the prevention of severe forms of music performance anxiety and the psychological aspects that need to be attended to in the raising and pedagogy of gifted music students. We face many challenges throughout life by virtue of being human in a complex world; those challenges are best negotiated by those who have secure attachments and have developed the resilience to confront obstacles with maturity and equanimity, including their music performance anxiety. Parenting and teaching the musically gifted child is first discussed. This is followed by a section on that most dreaded of all events in a musician's life — the audition — for which careful physical and psychological preparation is required. The chapter concludes with excerpts from an interview with Stephanie McCallum, concert pianist and piano pedagogue at the Sydney Conservatorium of Music, Sydney, Australia.Less
This final chapter is devoted to some thoughts about the prevention of severe forms of music performance anxiety and the psychological aspects that need to be attended to in the raising and pedagogy of gifted music students. We face many challenges throughout life by virtue of being human in a complex world; those challenges are best negotiated by those who have secure attachments and have developed the resilience to confront obstacles with maturity and equanimity, including their music performance anxiety. Parenting and teaching the musically gifted child is first discussed. This is followed by a section on that most dreaded of all events in a musician's life — the audition — for which careful physical and psychological preparation is required. The chapter concludes with excerpts from an interview with Stephanie McCallum, concert pianist and piano pedagogue at the Sydney Conservatorium of Music, Sydney, Australia.
Michele L. Fiala and Martin Schuring
- Published in print:
- 2021
- Published Online:
- December 2020
- ISBN:
- 9780190915094
- eISBN:
- 9780190915131
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190915094.001.0001
- Subject:
- Music, Performing Practice/Studies
This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, ...
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This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, developing finger technique, and creating a useful warm-up routine. The oboists discuss their ideals in reed making, articulation, and vibrato. They also share stories from their lives and careers. The oboists and English hornists profiled from North America are Pedro Diaz, Elaine Douvas, and Nathan Hughes (Metropolitan Opera Orchestra); John Ferrillo (Boston Symphony Orchestra); Carolyn Hove (Los Angeles Philharmonic); Richard Killmer (Eastman School); Nancy Ambrose King (University of Michigan); Frank Rosenwein and Robert Walters (Cleveland Orchestra); Humbert Lucarelli (soloist); Grover Schiltz (formerly Chicago Symphony); Eugene Izotov (San Francisco Symphony, originally from Russia); Allan Vogel (Los Angeles Chamber Orchestra retired); David Weiss (formerly Los Angeles Philharmonic); Randall Wolfgang (New York City Ballet and formerly Orpheus Chamber Orchestra); Alex Klein (Brazil, formerly Chicago Symphony and currently Calgary, Canada); and Sarah Jeffrey, Toronto Symphony Orchestra. The performers based in Europe are Neil Black, Nicholas Daniel, and Gordon Hunt (England); Maurice Bourgue and David Walter (France); Thomas Indermühle (Switzerland); László Hadady (Hungary and France); and Omar Zoboli (Italy). From Australia is Diana Doherty of the Sydney Symphony Orchestra.Less
This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, developing finger technique, and creating a useful warm-up routine. The oboists discuss their ideals in reed making, articulation, and vibrato. They also share stories from their lives and careers. The oboists and English hornists profiled from North America are Pedro Diaz, Elaine Douvas, and Nathan Hughes (Metropolitan Opera Orchestra); John Ferrillo (Boston Symphony Orchestra); Carolyn Hove (Los Angeles Philharmonic); Richard Killmer (Eastman School); Nancy Ambrose King (University of Michigan); Frank Rosenwein and Robert Walters (Cleveland Orchestra); Humbert Lucarelli (soloist); Grover Schiltz (formerly Chicago Symphony); Eugene Izotov (San Francisco Symphony, originally from Russia); Allan Vogel (Los Angeles Chamber Orchestra retired); David Weiss (formerly Los Angeles Philharmonic); Randall Wolfgang (New York City Ballet and formerly Orpheus Chamber Orchestra); Alex Klein (Brazil, formerly Chicago Symphony and currently Calgary, Canada); and Sarah Jeffrey, Toronto Symphony Orchestra. The performers based in Europe are Neil Black, Nicholas Daniel, and Gordon Hunt (England); Maurice Bourgue and David Walter (France); Thomas Indermühle (Switzerland); László Hadady (Hungary and France); and Omar Zoboli (Italy). From Australia is Diana Doherty of the Sydney Symphony Orchestra.
Chi-Yun Shin
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099722
- eISBN:
- 9789882207028
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099722.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to ...
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This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to expand to global markets including the U.S. It focuses on its horror titles, not only because they have become the most prominent and leading examples of the label, but also because the rise of Asia Extreme has coincided with the phenomenal success of “Asian horror” with branches such as “J-horror” and “K-horror,” which have been celebrated as producing the most original and innovative horror movies of the last decade. It examines the critical reception of the most “notorious” Asia Extreme titles —Audition, The Isle, and Oldboy in the UK and the US to understand the different discourses through which the Asia Extreme films are evaluated and mediated.Less
This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to expand to global markets including the U.S. It focuses on its horror titles, not only because they have become the most prominent and leading examples of the label, but also because the rise of Asia Extreme has coincided with the phenomenal success of “Asian horror” with branches such as “J-horror” and “K-horror,” which have been celebrated as producing the most original and innovative horror movies of the last decade. It examines the critical reception of the most “notorious” Asia Extreme titles —Audition, The Isle, and Oldboy in the UK and the US to understand the different discourses through which the Asia Extreme films are evaluated and mediated.
Robert Hyland
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099722
- eISBN:
- 9789882207028
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099722.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter examines the origins of extreme cinema as a politicized cinema, which uses an extreme aesthetic as a single aspect of its radical politics. It also examines the violence in Miike ...
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This chapter examines the origins of extreme cinema as a politicized cinema, which uses an extreme aesthetic as a single aspect of its radical politics. It also examines the violence in Miike Takashi's Audition and links the violence within “Asia Extreme” films to a politics of excess. It argues that “Asia Extreme” cinema is an overtly political cinema and that the films of Miike Takashi represent a challenge to the complacent cinema of the studio system, especially through an aesthetic of “excess” and “a politic of aggression.”Less
This chapter examines the origins of extreme cinema as a politicized cinema, which uses an extreme aesthetic as a single aspect of its radical politics. It also examines the violence in Miike Takashi's Audition and links the violence within “Asia Extreme” films to a politics of excess. It argues that “Asia Extreme” cinema is an overtly political cinema and that the films of Miike Takashi represent a challenge to the complacent cinema of the studio system, especially through an aesthetic of “excess” and “a politic of aggression.”
Eric Arbiter
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780190919610
- eISBN:
- 9780197554722
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190919610.003.0028
- Subject:
- Music, Performing Practice/Studies
Some perspective on the audition process from the audition committee’s side of the screen.
Some perspective on the audition process from the audition committee’s side of the screen.
Chris Frith
Axel Cleeremans (ed.)
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780198508571
- eISBN:
- 9780191687358
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198508571.001.0001
- Subject:
- Psychology, Cognitive Psychology
Consciousness has many elements, from sensory experiences such as vision, audition, and bodily sensation, to non-sensory aspects such as volition, emotion, memory, and thought. The apparent unity of ...
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Consciousness has many elements, from sensory experiences such as vision, audition, and bodily sensation, to non-sensory aspects such as volition, emotion, memory, and thought. The apparent unity of these elements is striking; all are presented to us as experiences of a single subject, and all seem to be contained within a unified field of experience. But this apparent unity raises many questions. How do diverse systems in the brain co-operate to produce a unified experience? Are there conditions under which this unity breaks down? Is conscious experience really unified at all? In recent years, these questions have been addressed by researchers in many fields, including, neurophysiologists and computational modellers, neuropsychology, cognitive psychology, and philosophy.Less
Consciousness has many elements, from sensory experiences such as vision, audition, and bodily sensation, to non-sensory aspects such as volition, emotion, memory, and thought. The apparent unity of these elements is striking; all are presented to us as experiences of a single subject, and all seem to be contained within a unified field of experience. But this apparent unity raises many questions. How do diverse systems in the brain co-operate to produce a unified experience? Are there conditions under which this unity breaks down? Is conscious experience really unified at all? In recent years, these questions have been addressed by researchers in many fields, including, neurophysiologists and computational modellers, neuropsychology, cognitive psychology, and philosophy.
Nathan F. Lepora
- Published in print:
- 2018
- Published Online:
- June 2018
- ISBN:
- 9780199674923
- eISBN:
- 9780191842702
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199674923.003.0013
- Subject:
- Neuroscience, Sensory and Motor Systems, Development
This chapter introduces the “building blocks” section of the Handbook of Living Machines which explores the individual sensory and motor components that when pieced together can comprise a complete ...
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This chapter introduces the “building blocks” section of the Handbook of Living Machines which explores the individual sensory and motor components that when pieced together can comprise a complete biological or artificial system. The first six chapters cover the senses of vision, audition, touch, taste, and smell (considered together as chemosensing, proprioception, and electrosensing). The remaining chapters review aspects of the biomimetics of animal movement. First, that biological muscle has many performance benefits compared with conventional electric, second, how oscillations in neural circuits can drive rhythmic movements, and finally the capacity of animal skin, in species such as geckos, to adhere to surfaces and support behaviors such as climbing.Less
This chapter introduces the “building blocks” section of the Handbook of Living Machines which explores the individual sensory and motor components that when pieced together can comprise a complete biological or artificial system. The first six chapters cover the senses of vision, audition, touch, taste, and smell (considered together as chemosensing, proprioception, and electrosensing). The remaining chapters review aspects of the biomimetics of animal movement. First, that biological muscle has many performance benefits compared with conventional electric, second, how oscillations in neural circuits can drive rhythmic movements, and finally the capacity of animal skin, in species such as geckos, to adhere to surfaces and support behaviors such as climbing.
