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The Noises of Nature and the Nature of Noise
Abstract
This chapter reconsiders the manner in which experiencing noises puts us in touch with the world. It first explores how our auditory appreciation of noises is mediated by our ability to reproduce sounds, and then proceeds from these observations to a reconsideration of the disruptive reputation of noise.
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When a person says that sound causes them pain, how can we understand this, and determine what processes are involved? Bryan Pollard navigates us through what is presently known.
Hyperacusis is a debilitating loudness intolerance disorder that can evoke annoyance, fear and aural facial pain. Although the auditory system seems to be the “central” player, hyperacusis is linked to more than twenty non-auditory medical disorders such as Williams syndrome, autism spectrum disorder, fibromyalgia, migraine, head trauma, lupus and acoustic shock syndrome. Neural models suggest that some forms of hyperacusis may result from enhanced central gain, a process by which neural signals from a damaged cochlea are progressively amplified as activity ascends rostrally through the classical auditory pathway as well as other non-auditory regions of the brain involved in emotions, memory and stress. Imaging studies have begun to reveal the extended neural networks and patterns of functional connectivity in the brain that enrich sounds with negative attributes that can make listening unbearable and even painful. The development of animal models of hyperacusis have enabled researcher to begin to critically evaluate the biological bases of hyperacusis, identify therapies to ameliorate the symptoms and gain a better understanding of the neural mechanisms involved in loudness coding in normal and hearing impaired subjects.
Because philosophical reflections on touch usually start from our ability to perceive properties of objects, they tend to overlook features of touch that are crucial to correct understanding of tactual perception. This paper brings out these features and uses them to develop a general reconception of the sense of touch. I start by taking a fresh look at our ability to feel, in order to reveal its vital role. This sheds a different light on the skin's perceptual potential. While it is commonly observed that tactile experiences have two intentional objects, an external object and one's own body, I will advance a more accurate alternative: in tactile experiences, one becomes aware of what one's body undergoes. This alternative not only fits better with tactility's vital role; it is also key to explaining how active touching provides for a unique contribution to our perceptual relation to material objects. By thus connecting tactility's vital role to the way we rely on touch while manipulating objects, this essay offers a cross-sectional survey of our tactile powers that reveals the interplay between sensing and touching.
Hermann von Helmholtz (1821–94) was a leading scientist who made important contributions to physiology, psychology, physics, philosophy and early neuroscience. Following his foundational work in ophthalmics during the 1850s, he became Professor of Physiology at Heidelberg and, in 1863, published On the Sensations of Tone. This investigation into the physical theory of music remains a central text for the study of physiological acoustics and aesthetics. In it, Helmholtz applies physics, anatomy and physiology. He explains how tones are built from a base tone with upper partial tones, and his later discussions on consonance and musical scales develop this theory and discuss how the ear perceives these tones. His work on consonance and dissonance was of particular interest to composers and musicologists well into the twentieth century. This English translation, published in 1875 from the third German edition, retains the original's straightforward language, making this classic work accessible to non-specialists.
An essay towards a new theory of Vision / George Berkeley Note: The University of Adelaide Library eBooks @ Adelaide.
The neuromatrix theory of pain proposes that pain is a multidimensional experience produced by characteristic "neurosignature" patterns of nerve impulses generated by a widely distributed neural network-the "body-self neuromatrix"-in the brain. These neurosignature patterns may be triggered by sensory inputs, but they may also be generated independently of them. Acute pains evoked by brief noxious inputs have been meticulously investigated by neuroscientists, and their sensory transmission mechanisms are generally well understood. In contrast, chronic pain syndromes, which are often characterized by severe pain associated with little or no discernible injury or pathology, remain a mystery. Furthermore, chronic psychological or physical stress is often associated with chronic pain, but the relationship is poorly understood. The neuromatrix theory of pain provides a new conceptual framework to examine these problems. It proposes that the output patterns of the body-self neuromatrix activate perceptual, homeostatic, and behavioral programs after injury, pathology, or chronic stress. Pain, then, is produced by the output of a widely distributed neural network in the brain rather than directly by sensory input evoked by injury, inflammation, or other pathology. The neuromatrix, which is genetically determined and modified by sensory experience, is the primary mechanism that generates the neural pattern that produces pain. Its output pattern is determined by multiple influences, of which the somatic sensory input is only a part, that converge on the neuromatrix.
When Even Soft Noises Feel like a Knife to the Eardrums. STAT Reporting from the Frontiers of Health and Medicine (blog)
- Joyce Cohen
Thing and Space: Lectures of 1907. R. Rocjewicz, trans
- Edmund Husserl
The Senses and the Intellect
- Alexander Bain