# created ```dataview LIST WITHOUT ID file.link FROM -"windsurf" WHERE file.cday = date(this.file.name) AND !startswith(file.folder, "windsurf") SORT file.cday ASC ``` # modified ```dataview LIST WITHOUT ID file.link FROM -"windsurf" WHERE file.mday = date(this.file.name) AND !startswith(file.folder, "windsurf") SORT file.mday ASC ``` --- # [[diary and thoughts]] #thought #diary --- # Discussant for Leddington - the plan is to say that when it comes to auditory atmospheres, reverberation plays a particularly strong role. - and maybe Leddington's view is going to have trouble accommodating atmospheres for this reason. ### 1. reverb and atmospheres - Define reverberation - e.g. cathedral vs small bathroom - this is caused by reflected sound waves.   - Why is reverberation something that we should pay attention to when it comes to auditory atmospheres? 1. The quality of the reverberation depends upon the size and the properties of a space - Atmosphere is something that places possess - "the spirit, soul, character of personality of a space" 2. Reverberation is often at the periphery of experience. 3. The character of reverberation depends upon the sources contained in the space (if a source makes high/low frequency waves, then high/low waves will be reflected), but reflected sound waves are diffused and so are heard as being at a different (less determinate) location (all around the listener) - [[this seems]] like a really good candidate for "sensible qualities that we experience as divorced from particular objects" which are"are experienced as filling or permeating the surrounding space” - There is also this diffusion effect of all the sources. this fits with what Jagnow says about ambient sensible qualities ### Quotes - Peripheral > "We usually experience atmospheres **peripherally**. While focusing on the storyline of 1984 or the philosophical thoughts developed by Saito, the imagined atmosphere may remain in the background of our attention, coloring the overall experience." (p. 3) - Fusion > "It is therefore implausible to say that we recognize an atmosphere in a different place by recognizing the individual ambient sensible qualities. Rather, it is more plausible to say that we recognize an atmosphere by recognizing the distinctive phenomenal character that results from the fusion..." (p. 6) - Why Jagnow avoids this problem > "The situation with sounds and smells is somewhat different. We often experience sounds and smells as emerging from a particular source. In the case of the guitar, we experience the sound as emerging from the instrument. Similarly, we experience the smell of freshly cut grass as emerging from the lawn." - Now, is this a problem for the property view of sounds? 1. sounds are stuck to sources. - is reverberation just an affect on the appearance of sources (changes the sounds they seem to bear?) - but this doesn't deal with the fact that reverbaration is all around. 2. Walls are source events with their own sounds, [[this seems]] hard to make plausible... Do you want to say that the walls instantiate the audible properties, are they mirrors? But that would seem to lead to a pretty crazy atmosphere. - Acousmatic listening: Can a property float free of its bearer - Abstracting away by deploying attention? - and wouldn't this be the opposite of what we want.... Instantiation in a surface: Qualities like colour and texture are experienced as being part of an object's surface. For example, "When you look at a cardinal, you experience the color as instantiated in its surface". [[The author]] states that we "never experience sensible qualities of the first kind, such as colors, shapes, and sizes, as divorced from particular objects". Emerging from a source: Qualities like sounds and smells are often experienced as coming from a specific object. For instance, "we experience the sound as emerging from the instrument" or "the smell of freshly cut grass as emerging from the lawn" >"Note that Heidegger's notion of abstract listening is closely related to [[the concept]] of musical listening much discussed by Roger Scruton. According to Scruton, the possibility of such abstract or 'acousmatic' [[auditory experience]] shows that sounds can be separated from their sources... But nothing of the sort follows. EPV and other views that resist the separability of sounds and sources can explain abstract listening as a matter of how we attend to what we hear." [[this seems]] to be at odds with the similar sounds + different spaces = different sound sounds # Chiara's Talk