When I mentioned history, I meant that the sonic doppler effect was discovered before the visual doppler effect: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3743612/
I think just because it was more convenient to measure, since the idea came from a simple mathematical observation about the properties of waves. I guess it also could have come from watching buoyant objects move in water, since a boat's wake is partly a manifestation of the doppler effect as well.
If you want an actual historical text regarding the arbitrariness of sensation, the first of Charles Berkley's Three Dialogues covers it well.
Anyway, I don't see your point -- or rather, you keep missing mine -- we can say there is connection between low sounds and slow oscillation, but ultimately the correspondence in timing has only an arbitrary relation to the sensation of pitch itself, just as a blinking light being aligned in time with our experience of it does not cement the "objectivity" of the color we perceive it as. Whatever the timing is, it can be "colored in" with whatever sensation we stipulate.
Like, just think for mere seconds about the fact that synesthesia exists. Sounds can be experienced as smells, and it's an incident of evolution that we don't experience them that way.
Sorry I think you got the wrong comrade, this was my first reply. I agree with you, I just think that the high and low pitch is the worst possible choice for the argument. Like hot and cold have no external comparison, but the qualia of high and low pitch is very literally connected to another sense (in this case the sight of a low pitched subwoofer or such). Even when moving and causing the Doppler effect to you as observer, that anchor still exists just with a shift that is also externally explainable.
Sight, hot/cold, all kinds of smells, all have a sense of disconnection between sense and qualia. How you hear complex sounds (filters or such) introduces qualia
But remember, we actually agree, I just think your example wasn't good to convince anybody else
When I mentioned history, I meant that the sonic doppler effect was discovered before the visual doppler effect: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3743612/
I think just because it was more convenient to measure, since the idea came from a simple mathematical observation about the properties of waves. I guess it also could have come from watching buoyant objects move in water, since a boat's wake is partly a manifestation of the doppler effect as well.
If you want an actual historical text regarding the arbitrariness of sensation, the first of Charles Berkley's Three Dialogues covers it well.
Anyway, I don't see your point -- or rather, you keep missing mine -- we can say there is connection between low sounds and slow oscillation, but ultimately the correspondence in timing has only an arbitrary relation to the sensation of pitch itself, just as a blinking light being aligned in time with our experience of it does not cement the "objectivity" of the color we perceive it as. Whatever the timing is, it can be "colored in" with whatever sensation we stipulate.
Like, just think for mere seconds about the fact that synesthesia exists. Sounds can be experienced as smells, and it's an incident of evolution that we don't experience them that way.
Sorry I think you got the wrong comrade, this was my first reply. I agree with you, I just think that the high and low pitch is the worst possible choice for the argument. Like hot and cold have no external comparison, but the qualia of high and low pitch is very literally connected to another sense (in this case the sight of a low pitched subwoofer or such). Even when moving and causing the Doppler effect to you as observer, that anchor still exists just with a shift that is also externally explainable.
Sight, hot/cold, all kinds of smells, all have a sense of disconnection between sense and qualia. How you hear complex sounds (filters or such) introduces qualia
But remember, we actually agree, I just think your example wasn't good to convince anybody else