 This debate, and the purported contrast between vision and audition, has consequences for perceptual theorizing. One route to the conclusion that hearing sounds involves auditory awareness of sensations involves denying that audition satisfies spatial prerequisites on experiencing sounds as objective or public. For instance, Maclachlan (1989) claims that audition’s phenomenology—in particular, its aspatial phenomenology—provides reasons to think sounds are sensations. Comparing sounds with pains, which we readily recognize as sensations, he says, “[A]lthough the sounds we hear are just as much effects produced in us as are the pains produced by pins and mosquitoes, there is no variety in the location of these effects [the sounds]. Because of the lack of contrast, we are not even aware that the sounds we hear are bodily sensations” (Maclachlan 1989, 31, my emphasis). Maclachlan means that, in contrast even to the case of pains, which are felt at different bodily locations, sounds are not experienced to be at differing locations, and so we are not even inclined to recognize that they are bodily sensations. Maclachlan then suggests that we associate sounds with things and happenings outside the body rather than appreciate that they are effects in us. Given the lack of spatial variation among experienced sounds, we projectively associate sounds with distal sources. This explanation assumes that experienced sounds exhibit no audibly apparent spatial variation: sounds seem located at the ears or lack apparent location altogether. Denying that auditory experiences present sounds at varying locations beyond the ears invites difficulty in finding a place for sounds in the world. If audition is wholly aspatial, this may encourage a retreat to the view that sounds lack locations outside the mind.