We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...) the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (shrink)

Lon Fuller, one of the great American jurists of this century, is often remembered only for his stand on the morality of law in the Fuller-Hart debate. Rediscovering Fuller considers the full range of Fuller's writings, from his early engagement with legal fictions and his critique of legal positivism to his later work on implicit law and the art of institutional design. Contributors from the fields of both civil law and common law argue that Fuller's insights are highly relevant to (...) contemporary concerns. The book contains essays by K. Winston, D. Dyzenhaus, P. Cliteur, F. Schauer ("Beyond the Fuller-Hart Debate"), P. Westerman, W. van der Burg, D. Luban ("Moralities of Law"), G. Postema, P. Teachout ("Implicit Law"), R. Macdonald, W. Witteveen, J. Allison, M. Hertogh, K. Soltan ("The Art of Institutional Design"), J. Allan, F. Mootz, J. Vining ("Law's Dialogue"), and a preface by Ph. Selznick. "At some point in the future, when we become more open to the moral relevance of social inquiry, more empirical in our study of philosophical issues, more capable of uniting moral and social theory, Lon Fuller's work will stand as a landmark. This volume will help show the way." —Ph. Selznick. (shrink)

Quomodo versus lyrici legendi sint, plerumque inter metricos constat, licet de origine singulorum versuum vel colorum dubia moveantur; at ne illud quidem confirmari potest in genere illo peculiari, quo multae strophae Pindari et Bacchylidis et nonnullae poétarum scenicorum compositae sunt. Quod in talibus versibus maxime conspicuum est, hoc est, quod metra τоû σоυ et διπλασíоυ γéνоυς; in eis coniunguntur vel coniungi videntur, ita, ut ambitus utriusque partis aut par aut non multum maior minorve sit. lam antiqui metrici parum compertum habebant, (...) qua ratione eiusmodi versus explicarent. Cum maior pars ceterorum versuum lyricorum etiam post Alexandri aetatem in usu essent et doctrina grammaticorum hanc quoque materiam complecteretur, pauca versuum illorum vestigia remanebant, postquam chori lyrici et dramatici conticuerunt. Habemus quidem Meliambos Cercidae eodem genere carmina pangere conati, quo clarissimi illi veteres, sed eos perlegentes statim sentimus artem intermortuam non ab isto Megalopolitano nova vita donatam esse; nihil enim frigidius cogitari potest, quam si quis oda pindarica recitata ad Cercidae versus se convertat eosque alta voce pronuntiare conetur. Metrici graeci et romani praeter paucos versus eosque singillatim genus nostrum non tractant nee quisquam ex eorum numero de genere toto disseruit. Horatium et suamet ipsum arte prae ceteris excellentem et doctrina metrica haud mediocriter imbutum non aliter ac nos huius aevi philologos nescire, quomodo carmina pindarica ab ipso poeta componerentur, ex Oda notissima patet, in qua Pindarum quisquis studet aemulari frustra in re desperata desudare perhibetur. Ad universam lyricorum graecorum artem pertinent, quae a Cicerone in Oratore affirmantur, qui tamen clausulis orationis numerosae operam dans rem metricam non neglexit: sed in versibus res est apertior, quamquam etiam a modis quibusdam cantu remoto soluta esse videatur oratio, maximeque id in optima quoque eorum poëtarum, qui λυρικоí a graecis nominantur, quos, cum cantu spoliaveris, nuda paene remanet oratio. Causam hanc vel maximam esse puto in nullo alio carmina pangendi genere musicam, saltationem, metrum tam arte cohaesisse; cum poësis non iam pars habebatur υθμιξου, quod φθγγοδ, σχμα, συλλαβ definiebant, ut Aristoxeni terminis utar , via stabilita ambitum singulorum versuum ac colorum statuere conarentur et indoloem pedum metricorum conicendo indicarent. (shrink)

This paper outlines the qualitative foundations of a “quasiclassical” theory in which particles are pictured as spatially extended periodic excitations of a universal background field, interacting with each other via nonlinearity in the equations of motion for that field, and undergoing collapse to a much smaller volume if and when they are detected. The theory is based as far as possible directly on experiment, rather than on the existing quantum mechanical formalism, and it offers simple physical interpretations of such concepts (...) as mass, 4-momentum, interaction, potentials, and quantization; it may lead directly to the standard equations of quantum theory, such as the multiparticle Schrödinger equation, without going through the conventional process of “quantizing” a classical theory. The theory also provides an alternative framework in which to discuss wave-particle duality and the quantum “measurement problem”; in particular, it is suggested that the unpredictability of quantum phenomena may arise from “deterministic chaos” in the behavior of the background field. (shrink)

In this paper an attempt is made to interpret inertial mass as a consequence of the invariant periodicity associated with physical de Broglie waves. In the case of a free particle, such waves, observed from an arbitrary reference frame, would exhibit the velocity-dependent wavelength given by de Broglie's relation; and it is conjectured that the inertial and additive properties of mass (or, more precisely, the conservation of momentum and energy) can be related to nonlinear interference effects occurring between the de (...) Broglie waves for different particles. This picture could throw light on the physical meaning of quantization and suggests the possibility of reformulating classical and quantum mechanics in terms of a “quasi-classical” nonlinear field theory in which both inertial and quantization effects result essentially from the periodicity of de Broglie waves. (shrink)

The author has recently proposed a “quasi-classical” theory of particles and interactions in which particles are pictured as extended periodic disturbances in a universal field χ(x, t), interacting with each other via nonlinearity in the equation of motion for χ. The present paper explores the relationship of this theory to nonrelativistic quantum mechanics; as a first step, it is shown how it is possible to construct from χ a configuration-space wave function Ψ(x 1,x 2,t), and that the theory requires that (...) Ψ satisfy the two-particle Schrödinger equation in the case where the two particles are well separated from each other. This suggests that the multiparticle Schrödinger equation can be obtained as a direct consequence of the quasi-classical theory without any use of the usual formalism (Hilbert space, quantization rules, etc.) of conventional quantum theory and in particular without using the classical canonical treatment of a system as a “crutch” theory which has subsequently to be “quantized.” The quasi-classical theory also suggests the existence of a preferred “absolute” gauge for the electromagnetic potentials. (shrink)

It is shown that an approach to quantum phenomena in which charged particles are treated as macroscopically extended periodic disturbances in a nonlinear c-number field, interacting with each other via massless excitations of that field, leads almost uniquely to the five basic equations of classical electrodynamics: the Lorentz force law and Maxwell's equations. The fundamental electromagnetic quantity in this approach is the 4-vector potential Aα—interpreted absolutely as a measure of the local shift of each particle off its mass shell—rather than (...) theE andB fields, and it thus provides a new viewpoint on the questions of Aharonov-Bohm phase shifts, the existence of magnetic monopoles, and the role of gauge invariance. (shrink)