Natural Sounds and Musical Sounds: A Dual Distinction

In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both conditions. I argue that natural sounds are distinct from music in that they express a kind of alterity or “otherness,” which occurs in two ways. It occurs referentially, because the sources of natural sounds are natural objects rather than artifactual objects, such as instruments; it also occurs acoustically, because natural sounds tend to contain more microtones than macrotones. On my account, the distinction between music and natural sounds is both conventional and vague; it therefore allows music and natural sounds to come together.     

Timeless Traces of Temporal Patterns

Long‐exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things‐in‐time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns are thus a challenge to how we understand pictures. In addition to being representations, however, such photographs are recordings. They witlessly register aspects of scenes in a manner that can be replayed. The following shows that recording is a valuable and neglected tool for investigating representational practices. Aspects of what photos record also figure in their representational contents, and this provides a way of approaching the photography of events in time. This article proceeds by framing, and then answering, three questions. First, what do photos record about temporal patterns? Second, which aspects of such recordings also show up in photos’ representational contents? And third, do these pictures depict, rather than merely represent, such temporal patterns?     

The effect of interviewer guise upon gender self-report responses as a function of interviewee's self-monitoring position

Female high and low self-monitors were interviewed by a female experimenter who adopted either an androgynous or a feminine guise. An analysis of responses scored for femininity yielded a significant interaction between self-monitoring and interviewer guise which, when subjected to further analysis, revealed a significant simple effect for high self-monitors but not for low self-monitors. High self-monitors scored significantly higher on femininity when with the feminine guise interviewer, but lower when with the androgynous guise interviewer. © 1997 John Wiley & Sons, Ltd.     

Agnosticism About Other Worlds: A New Antirealist Programme in Modality

The modal antirealist, as presented here, aims to secure at least some of the benefits associated with talking in genuine modal realist terms while avoiding commitment to a plurality of Lewisian (or ersatz) worlds. The antirealist stance of agnosticism about other worlds combines acceptance of Lewis's account of what world-talk means with refusal to assert, or believe in, the existence of other worlds. Agnosticism about other worlds does not entail a comprehensive agnosticism about modality, but where such agnosticism about modality is enforced, the aim of the agnostic programme is to show that it is not detrimental to our modal practices. The agnostic programme consists in an attempt to demonstrate the rational dispensability of that disputed class of modal beliefs which the agnostic eschews, but which are held by the realist and the folk. Here I attempt to motivate, describe, and illustrate such an agnostic antirealist programme in modal philosophy.