Overhearing: An Attuning Approach to Noise in Danish Hospitals

Denmark is building new and improved super hospitals, based on a vision of improving overall quality by switching the focus from hospitals for treatment to hospitals for healing, guided by research in the field of evidence-based design and healing architecture. Users mention noise as one of the main stressors and research has discovered that noise levels in hospitals continue to rise. Noise has therefore become a central point of concern, recommending strategies to reduce measurable and perceived noise levels.However, these strategies do not support the need to feel like an integral part of the shared hospital environment, which is also a key element in creating healing environments linked to a reductionist framework underlying the field. This framework regards broad concepts such as noise and silence as objects with quantifiable properties, and assumes that these properties can be understood independently of the perceiver as a bodily and situated subject. The aim of this dissertation is accordingly to develop an alternative framework capable of accommodating the multi-sensory, affective and atmospheric conditions that influence the experience of noise, with a view to complementing the existing approaches in the field.  Consequently, the dissertation develops an ecological framework capable of accommodating these issues, established by viewing sound and listening through the lens of atmospheres. The attuning approach highlights the reciprocal relationship between the way in which atmospheres condition shared rhythms that shape us, but also the way in which we can tune them in different ways. In the context of sound and listening, this creates the potential of ecological overhearing as an atmospheric mode of listening capable of reconfiguring habitual background and foregrounding relationships. Attuning strategies should thus provide opportunities for diverse acoustic situations and possibilities for active choice-making to meet different and shifting needs through an enactive approach in order to enhance empowerment and ecological overhearing. Embedding diverse enactive sound installations and interactive sound technology in hospitals can facilitate such zones of overhearing. These zones become places for ruptures that strengthen the possibilities for engaging in counter-attunements of existing negative atmospheres. In this way, zones of overhearing not only provide continual sense of presence without demanding full attention, but also create ample opportunities for the restoration of  attention.The dissertation takes an experimental practice-based approach through artistic- and constructive design-research and comprises six peer-reviewed papers (Part IV), framed by a general overview article (Parts I-III) that develops the theoretical and methodological foundation for the papers, and provides a synthesis and discussion of their main findings. The practice-based work is founded on a range of experiments, but focuses on two main experiments: Light, Landscape & Voices and KidKit, and the way in which they elicit sensitivities within the topic of investigation. This contribution also concerns the concrete development of installations through the experiments. These installations are in themselves manifestations of and challenges to hypotheses about the topic I aim to address.

Metaphysical and Conceptual Grounding

Recently, many philosophers have claimed that the world has an ordered, hierarchical structure, where entities at lower ontological levels are said to metaphysically ground entities at higher ontological levels. Other philosophers have recently claimed that our language has an ordered, hierarchical structure. Semantically primitive sentences are said to conceptually ground less primitive sentences. It’s often emphasized that metaphysical grounding is a relation between things out in the world, not a relation between our sentences. But conflating these relations is easy to do, given that both types of grounding are expressed by non-causal “in-virtue-of” claims. The purpose of this paper is to clarify the relation between metaphysical and conceptual grounding. I argue that conceptual and metaphysical grounding are exclusive: if a given in-virtue-of claim involves conceptual grounding, then it does not involve metaphysical grounding. I also develop some heuristics for deciding which type of grounding is relevant in a given case. These heuristics suggest that many proposed cases of metaphysical grounding do not actually involve metaphysical grounding at all

"Exhibitionists" and "voyeurs" do it better: A shared environment for flexible coordination with tacit messages

Coordination between multiple autonomous agents is a major issue for open multi-agent systems. This paper proposes the notion of Behavioural Implicit Communication (BIC) originally devised in human and animal societies as a new and critical coordination mechanism also for artificial agents. BIC is a parasitical form of communication that exploits both some environmental properties and the agents? capacity to interpret their actions. In this paper we abstract from the agents? architecture to focus on the interaction mediated by the environment. Observability of the environment ? and in particular of agents? actions ? is crucial for implementing BIC-based form of coordination in artificial societies. Accordingly in this paper we introduce an abstract model of environment providing services to enhance observation power of agents, enabling BIC and other form of observation-based coordination. Also, we describe a typology of environments and examples of observation based coordination with and without implicit communication

(G)hosting television: Ghostwatch and its medium

This article’s subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually-specific artwork and artefact. We discuss the programme’s ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’, principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme’s television-specific historicity whilst acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch’s visual grammar and vocabulary and deployment of ‘broadcast talk’ (Scannell 1991) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium’s history. We offer the programme as an historically-reflexive artefact, and as an exemplary instance of the work of art in television’s age of broadcasting, liveness and co-presence

Irony and transcendence on the Renaissance stage

This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays

Melville and Nietzsche: Living the Death of God

Herman Melville was so estranged from the religious beliefs of his time and place that his faith was doubted during his own lifetime. In the middle of the twentieth century some scholars even associated him with nihilism. To date, however, no one has offered a detailed account of Melville in relation to Nietzsche, who first made nihilism a topic of serious concern to the Western philosophical tradition. In this essay, I discuss some of the hitherto unexplored similarities between Melville’s ideas and Nietzsche’s reflections on and reactions to the death of God and the advent of nihilism in the West

Forget what you hear:Careless Talk, espionage and ways of listening in on the British secret state

As the covert and clandestine practices of states multiplied in the twentieth century, so did these practices' footprint in public life. This footprint is not just visual and material but sonic and aural, sounding the 'secret state' into being and suggesting ways of 'listening in' on it. Using multisensory methodology, this article examines Careless Talk Costs Lives, a UK Second World War propaganda campaign instructing citizens on how to practice discreet speech and listening in defence against 'fifth columnist' spies. This campaign reproduced the British secret state in the everyday: it represented sensitive operations as weaving in and out of citizens' lives through imprudent chatter about 'hush-hush' activities and sounds you shouldn't overhear. The paradox at the campaign's heart - of revealing to people the kind of things they shouldn't say or listen to - made the secret state and its international operations a public phenomenon. Secret sounds therefore became entangled within productions of social difference, from class inequalities to German racialisation. Sound and listening, however, are unwieldy phenomena. This sonic life of the secret state risked undermining political legitimacy, while turning public space and idyllic environments into deceptive soundscapes - for international espionage, it seemed, sounded like ordinary life

Homiletical Aesthetics: A Paradigmatic Proposal for a Holistic Experience of Preaching

The article is a proposal for a paradigmatic change in homiletical pedagogy. In North America today, most homiletical training at the seminary or divinity school is either text-driven or know-how-driven (or, at times, topic-driven). Thus, the homiletical training focuses on (1) how to exposit a text for a key topic, (2) how to structure a sermon, (3) how to deliver a message, and (4) how to analyze the text-driven sermon. While admitting the usefulness of this current textual or know-how pedagogy, the article suggests the addition of a holistic-aesthetic component of preaching, which I will later call numen-participatory education or a numinous pedagogy of preaching. This proposed pedagogical paradigm has two great advantages that the ecclesial situation today demands: (1) the spiritual formation of the preacher and (2) the holistic-aesthetic and multisensory exposition and experience of the text both by the preacher and the audience