Hearing

Hearing, auditory perception, or audition is the ability to perceive sound by detecting vibrations, changes in the pressure of the surrounding medium through time, through an organ such as the ear. Sound may be heard through solid, liquid, or gaseous matter. It is one of the traditional five senses; partial or total inability to hear is called hearing loss.

In humans and other vertebrates, hearing is performed primarily by the auditory system: mechanical waves, known as vibrations are detected by the ear and transduced into nerve impulses that are perceived by the brain (primarily in the temporal lobe). Like touch, audition requires sensitivity to the movement of molecules in the world outside the organism. Both hearing and touch are types of mechanosensation.

Hearing mechanism

There are three main components of the human ear: the outer ear, the middle ear, and the inner ear.

Outer ear

The outer ear includes the pinna, the visible part of the ear, as well as the ear canal which terminates at the eardrum, also called the tympanic membrane. The pinna serves to focus sound waves through the ear canal toward the eardrum. Because of the asymmetrical character of the outer ear of most mammals, sound is filtered differently on its way into the ear depending on what vertical location it is coming from. This gives these animals the ability to localize sound vertically. The eardrum is an airtight membrane, and when sound waves arrive there, they cause it to vibrate following the waveform of the sound.

We Don't

We Don't is an album by American jazz saxophonist Jemeel Moondoc with drummer Denis Charles, which was recorded in 1981 but not issued until 2003 by the Eremite label. The title track is a traditional Caribbean tune.

Reception

In his review for AllMusic, Steve Loewy states "Jemeel Moondoc and Denis Charles are in outstanding form, with the saxophonist wailing passionately for the length of the album and the drummer egging him on with characteristic panache."

The Penguin Guide to Jazz notes that "Saxophone and drums is a tough discipline, sanctified by John Coltrane's duets with Rashied Ali. These are harsher and more abstract sessions, and the more reallistic parallel might be Ornette Coleman and Ed Blackwell."

The All About Jazz review by Clifford Allen states "As far as continua are concerned, We Don't is neither fire- breathing heaviness nor ice-cold experimentation, but a creative and energetic ride through the dictions of two of the most original voices on their instruments."

The JazzTimes review by Bill Shoemaker says "A passionate duo exchange with alto saxophonist Jemeel Moondoc, We Don't is a fine companion volume to a 1991 recording issued under Charles' leadership, Captain of the Deep, which also featured Moondoc."

The Real

The Real refers to that which is authentic, the unchangeable truth in reference both to being/the Self and the external dimension of experience, also referred to as the infinite and absolute—as opposed to a reality based on sense perception and the material order.

In psychoanalysis

Lacan

For Jacques Lacan, the order of the real is not only opposed to the imaginary but is also located beyond the symbolic. Unlike the symbolic, which is constituted in terms of oppositions such as "presence" and "absence", there is no absence in the real. The symbolic opposition between "presence" and "absence" implies the possibility that something may be missing from the symbolic, the real is "always in its place: it carries it glued to its heel, ignorant of what might exile it from there." If the symbolic is a set of differentiated signifiers, the real is in itself undifferentiated: "it is without fissure." The symbolic introduces "a cut in the real," in the process of signification: "it is the world of words that creates the world of things." Thus the real emerges as that which is outside language: "it is that which resists symbolization absolutely." The real is impossible because it is impossible to imagine, impossible to integrate into the symbolic order. This character of impossibility and resistance to symbolization lends the real its traumatic quality.

Hear Me

Hear Me may refer to:

See also

Hear Me Now

Hear Me Now may refer to: