Rhythm and Harmony in Poetry and Music is an unchanged, high-quality reprint of the original edition of 1895. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become (...) rare and historical knowledge for the future. (shrink)

_ Source: _Volume 47, Issue 1, pp 60 - 84 This article takes up Heidegger’s commentary on Rimbaud’s _Lettres du voyant_ as the starting point for an exploration of the question of rhythm in Heidegger’s thought, and an attempt to situate it within his understanding of technics and Being. Besides pursuing a historical study of the concept of rhythm in Heidegger’s work, this article proposes to understand rhythm through the concept of individuation. It responds to the French (...) philosopher Jacques Garelli’s critique of Heidegger that the latter ignores the question of individuation and always starts with beings that are already individuated. On the contrary, this article attempts to sketch a theory of individuation of rhythm in Heidegger’s proper thinking through a re-interpretation of the _Fug_—a word he used to translate the Greek word δίκη and words derived from it: joint, structure, submission, etc. (shrink)

Body feedback is the proprioceptive feedback that denominates the afferent information from position and movement of the body to the central nervous system. It is crucial in experiencing emotions, in forming attitudes and in regulating emotions and behavior. This paper investigates effects of dynamic body feedback on affect and attitudes, focusing on the impact of movement rhythms with smooth vs. sharp reversals as one basic category of movement qualities. It relates those qualities to already explored effects of approach vs. avoidance (...) motor behavior as one basic category of movement shape. Studies 1 and 2 tested the effects of one of two basic movement qualities (smooth vs. sharp rhythms) on affect and cognition. The third study tested those movement qualities in combination with movement shape (approach vs. avoidance motor behavior) and the effects of those combinations on affect and attitudes toward initially valence-free stimuli. Results suggest that movement rhythms influence affect (studies 1 and 2), and attitudes (study 3), and moderate the impact of approach and avoidance motor behavior on attitudes (study 3). Extending static body feedback research with a dynamic account, findings indicate that movement qualities – next to movement shape – play an important role, when movement of the lived body is an independent variable. (shrink)

can highlight how everyday rhythms complicate chronological orderings of past and present and how what appears 'utterly changed' repeats in fascinating ways ...

This article examines the work of French phenomenologist Henri Maldiney (1912-2013), a philosopher who shed light on the phenomenon of interrogation by a world that has lost its pre-existing coordinates. While Maldiney himself referred to paintings and mental illness, we try to read his theory as an analysis of social situation and action. His theory helps us understand end-of-life situations in which caregivers encounter scenes where it is difficult to break out of a stalemate. It is a theory of practice (...) based on an innovative understanding of the concept of rhythm. (shrink)

Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review (...) the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics. (shrink)

Pulmonary ventilation and respiration are considered to be primarily involved in oxygenation of blood for oxygen delivery to cells throughout the body for metabolic purposes. Other pulmonary physiological observations, such as respiratory sinus arrhythmia, Hering Brewer reflex, cardiorespiratory synchronization, and the heart rate variability (HRV) relationship with breathing rhythm, lack complete explanations of physiological/functional significance. The spectrum of waveforms of breathing activity correlate to anxiety, depression, anger, stress, and other positive and negative emotions. Respiratory pattern has been thought not (...) only to be influenced by emotion but to itself influence emotion in a bi-directional relationship between the body and the mind. In order to show how filling in gaps in understanding could lead to certain future developments in mind–body medicine, biofeedback, and personal health monitoring, we review and discuss empirical work and tracings to express the vital role of bodily rhythms in influencing emotion, autonomic nervous system activity, and even general neural activity. Future developments in measurement and psychophysiological understanding of the pattern of breathing in combination with other parameters such as HRV, cardiorespiratory synchronization, and skin conductivity may allow for biometric monitoring systems to one day accurately predict affective state and even affective disorders such as anxiety. Better affective prediction based on recent research when incorporated into personal health monitoring devices could greatly improve public mental health by providing at-home biofeedback for greater understanding of one’s mental state and for mind–body affective treatments such as breathing exercises. (shrink)

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions through to more fluid definitions. Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely (...) fluidity and movement. These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry. (shrink)

On 1 December 2019, over one hundred Aboriginal nations performed ancestral and creation dances in synchrony across the Australian continent. One of the communities that danced was the Anaiwan nation from the north-eastern region of New South Wales, Australia. Since 2014 I have been working with Anaiwan people in a collaborative activist research project, creating and maintaining an Aboriginal community garden on the fringes of my hometown of Armidale as a site for land reclamation and decolonising, multispecies research. The community (...) garden is adjacent to the site of the old East Armidale Aboriginal Reserve, where over one hundred dispossessed Aboriginal people were forced to live on the municipal town garbage depot in the mid-twentieth century. This paper positions both the Nation Dance 2019 movement, and the Armidale Aboriginal Community Garden, as rhythmic events that activate Aboriginal Law and sovereignty that is held enduring in the land but that has been buried alive by the settler-colonial state. Focusing on the tensions between deep Indigenous ancestral temporality and colonial territoriality, I argue that the emergence of the Anthropocene reveals a dangerous dissonance between the rhythms of Aboriginal Law patterned through present-day Australian environments and the grid-based structures of colonial governance imposed upon them. (shrink)

In the healthy state, both circadian rhythm and mood are stable against perturbations, yet they are capable of adjusting to altered internal cues or ongoing changes in external conditions. The dual demands of stability and flexibility are met by the collective properties of complex neural networks. Disruption of this balance underlies both circadian rhythm abnormality and mood disorders. However, we do not fully understand the network properties that govern the crosstalk between the circadian system and mood regulation. This (...) puzzle reflects a challenge at the center of neurobiology, and its solution requires the successful integration of existing data across all levels of neural organization, from molecules, cells, circuits, network dynamics, to integrated mental function. This essay discusses several open questions confronting the cross‐level synthesis, and proposes that circadian regulation, and its role in mood, stands as a uniquely tractable system to study the causal mechanisms of neural adaptation.Also watch the Video Abstract.Editor's suggested further reading in BioEssays Major depressive disorder: A loss of circadian synchrony? Abstract. (shrink)

It remains a dogma in cognitive neuroscience to separate human attention and memory into distinct modules and processes. Here we propose that brain rhythms reflect the embedded nature of these processes in the human brain, as evident from their shared neural signatures: gamma oscillations (30–90 Hz) reflect sensory information processing and activated neural representations (memory items). The theta rhythm (3–8 Hz) is a pacemaker of explicit control processes (central executive), structuring neural information processing, bit by bit, as reflected in (...) the theta-gamma code. By representing memory items in a sequential and time-compressed manner the theta-gamma code is hypothesized to solve key problems of neural computation: (1) attentional sampling (integrating and segregating information processing), (2) mnemonic updating (implementing Hebbian learning), and (3) predictive coding (advancing information processing ahead of the real time to guide behavior). In this framework, reduced alpha oscillations (8–14 Hz) reflect activated semantic networks, involved in both explicit and implicit mnemonic processes. Linking recent theoretical accounts and empirical insights on neural rhythms to the embedded-process model advances our understanding of the integrated nature of attention and memory – as the bedrock of human cognition. (shrink)

Some proponents of the pro-life movement argue against morning after pills, IUDs, and contraceptive pills on grounds of a concern for causing embryonic death. What has gone unnoticed, however, is that the pro-life line of argumentation can be extended to the rhythm method of contraception as well. Given certain plausible empirical assumptions, the rhythm method may well be responsible for a much higher number of embryonic deaths than some other contraceptive techniques.

The heterogeneity of transcranial direct current stimulation protocols and clinical profiles may explain variable results in modulating excitability in the motor cortex after stroke. However, the cortical electrical effects induced by different tDCS protocols remain unclear. Here, we aimed to compare rhythm changes in electroencephalography induced by three tDCS position protocols and the association between tDCS effects and clinical factors in stroke. Nineteen patients with chronic ischemic stroke underwent four experimental sessions with three tDCS protocols [anodal, cathodal, and bilateral (...) ] and a sham protocol, according to a single-blind randomized crossover design. Resting-state EEG was acquired before and after each protocol. First, a paired-sample t-test was used to examine the difference in spectral power between pre- and post-stimulation. Then, linear and quadratic regression models were used separately to describe the association between the clinical factors of stroke and changes in spectral power which was significantly different between pre- and post-tDCS. Finally, repeated measures analysis of variance with lesion hemisphere, stimulation protocol, and the location was performed to investigate the effects of tDCS over time. The induced effect of tDCS was mainly reflected in the alpha rhythms. The alpha power was increased by atDCS, especially low-alpha, in localized areas of the central and distant areas of the frontal and parietal lobes. Bi-tDCS also affected alpha power but in a smaller area that mainly focused on high-alpha rhythms. However, ctDCS and sham had no significant effects on any EEG rhythm. The clinical factors of time since stroke and motor impairment level were related to the change in high-alpha induced by atDCS and bi-tDCS following quadratic regression models. The above-mentioned modulation effect lasted for 20 min without attenuation. In conclusion, our findings provide evidence that the alpha rhythm of EEG is modulated differently by different tDCS protocols and that high alpha is affected by clinical characteristics such as post-stroke time and motor deficits, which is of great significance for understanding the modulation effect of different tDCS protocols on stroke and the guidance of protocols to promote motor recovery following stroke. (shrink)

This article has a double purpose: to argue for some specific points on Cicero's rhythm, and to show how the significance of rhythm for literary understanding is larger than has perhaps been perceived. The piece is based on a reading of the whole of Cicero; but it will make only occasional reference to the letters. The question of rhythm in the letters is particularly involved, and it will be best handled elsewhere.

Respiratory rhythms sustain biological life, governing the homeostatic exchange of oxygen and carbon dioxide. Until recently, however, the influence of breathing on the brain has largely been overlooked. Yet new evidence demonstrates that the act of breathing exerts a substantive, rhythmic influence on perception, emotion, and cognition, largely through the direct modulation of neural oscillations. Here, we synthesize these findings to motivate a new predictive coding model of respiratory brain coupling, in which breathing rhythmically modulates both local and global neural (...) gain, to optimize cognitive and affective processing. Our model further explains how respiratory rhythms interact with the topology of the functional connectome, and we highlight key implications for the computational psychiatry of disordered respiratory and interoceptive inference. (shrink)

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds and the sound of sounding. From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening to some pieces of music.

This text was presented in the Conference “Rhythm as Pattern and Variation : Political, Social and Artistic Inflections, Goldsmiths College — University of London, on April 23, 2016. Recent Development of Rhythmic Studies The first thing that becomes obvious when you document, as I have been doing for the last five years, the studies dedicated in human and soc­ial science to rhythmic phenomena or using rhythm as operating concept—whatever its definition—is the rapid increase in their number. - Vers (...) un nouveau paradigme scientifique? – Nouvel article. (shrink)

This innovative study argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance.

Gamma rhythms are associated with external and internal sensory processing. Within the conceptual framework of “top-down” and “bottom-up” processing, this suggests that gamma represents a format common to both camps. As these oscillations facilitate communication in the temporal domain, they may represent a mechanism by which top-down and bottom-up processing can interact. A breakdown in this interaction may lead to hallucinations.

Music is a natural human expression present in all cultures, but the functions it serves are still debated. Previous research indicates that rhythm, an essential feature of music, can enhance coordination of movement and increase social bonding. However, the prolonged effects of rhythm have not yet been investigated. In this study, pairs of participants were exposed to one of three kinds of auditory stimuli (rhythmic, arrhythmic, or white‐noise) and subsequently engaged in five trials of a joint‐action task demanding (...) interpersonal coordination. We show that when compared with the other two stimuli, exposure to the rhythmic beat reduced the practice effect in task performance. Analysis of the behavioral data suggests that this reduction results from more temporally coupled motor movements over successive trials and that shared exposure to rhythm facilitates interpersonal motor coupling, which in this context serves to impede the attainment of necessary dynamic coordination. We propose that rhythm has the potential to enhance interpersonal motor coupling, which might serve as a mechanism behind its facilitation of positive social attitudes. (shrink)

Rhythm is a poetic necessity for constructing a poem, which in turn gives us other rhythms and other phonemes in the background of the meter, and behind the words, and hence the meter does not constitute a major value in constructing a poem unless it is linked to other artistic elements of writing poetry. In this section, we address the rhythmic phenomenon in the introductions to poetry collections in various forms of Arabic poetry: classical, free metrical, and prose poetry, (...) by reading a number of diverse poetic models, starting from the fact that poetry is not poetry, and that poetic meters do not form a poem except to the extent that the poet invests in other elements of poetry, in the image, style, density and depth of language, and rhetorical diversification in performing the poem, and also departing from the pattern by renewing and developing and striving to create advanced innovations in the broad rhythmic horizon, and in the formative and linguistic horizon of poetic introductions, and in this section we have monitored a group of rhythmic phenomena such as: repetition, phonemes of language, the rhythm of the visual space of writing, and the relationship between effect and reception. In light of this awareness, poetic introductions may come in a multi-rhythmic form that does not necessarily stop at the inherited poetic form, but rather varies in its performance and in the methods of delivery, investing the space of the poetic page in conveying the poet’s semantic vision. (shrink)

One character in Cortázar's novel truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear (...) patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality. (shrink)

Part II systematically develops a fully temporal theory of meter that engages a variety of interpretive possibilities open to the performer. Here analyses of music from the early 17th century to the mid-20th century demonstrate the explanatory power of the theory and address broader issues of musical rhythm. The concluding chapters open the theory to more general questions of musical experience and its theoretical representation.

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can (...) be meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

This paper advocates the main ideas of the interactive model of representation of Mark Bickhard and the assimilation/accommodation framework of Jean Piaget, through a rhythm recognition demonstration program. Although completely unsupervised, the program progressively learns to recognize more and more complex rhythms struck on the user's keyboard. It does so without any recording of the input flow, and without any pattern matching in the usual sense. On the contrary, internal processes are dynamically constructed to follow and anticipate the user's (...) actions. We show that these processes are representations of the rhythms in the interactivist sense, and that they emerge from non representational grounds, avoiding the symbol‐grounding problem. They are not copies or transductions of reality, but ideal internal constructions of the agent, avoiding the circularity pointed out by Piaget. In practice, the active nature of this recognition process allows it to work even with noisy and complex input flows. (shrink)

Previous chapter Medicine and some of its discipline-sisters as anatomy and physiology have been instrumental in the history of rhythm in Modern Times. Along with music, which will be only briefly touched upon because it would necessitate a complete essay and also because it exists already a good number of studies on the subject, they have transmitted and spread its Platonic and Aristotelian definition. Since métron – measure was the core of the Platonic definition of rhythm, I entitled (...) - Médecine – Nouvel article. (shrink)

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, (...) against Scruton, that music literally and not merely metaphorically moves. (shrink)

The most important structural feature of the music of the New World is its often-time polyrhythmic and polymetrical character. This is also a key to unlocking the nature of social form and democratic persona in the diasporic and settler metropolises of the New World. In such settings, composers and musicians working with simultaneous temporalities, lines, groups, textures and characters offer intimations of a just totality for culturally fragmented societies.

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will (...) be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding. (shrink)

This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or (...) be completely independent of music, though natural or internal bodily rhythms can underpin both. Finally, it asserts the existence of dance that might be naturally rhythmic, but not in a way essential to dance qua dance. (shrink)

Ce texte est l'introduction de Technology's Pulse. Essays on Rhythm in German Modernism, London, Institute of Germanic & Romance Studies, 2012, ouvrage dont on trouvera la présentation ici. Nous remercions Michael Cowan de nous avoir autorisé à le reproduire sur RHUTHMOS. - 1er XXe siècle – Nouvel article.

One of the world's most important philosophers of religion reveals the unity of cosmic Mystery in this distillation of the wisdom of the East and West, North and South.

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of (...) Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

This paper examines the phenomenon of music in relation to time and time-consciousness based on the philosophies of Augustine, Brentano and Husserl. They analyzed music, or more precisely, the melody of tones and rhythm in their theories of time and time-consciousness, because the process of perceiving music uncloaks the phenomenon of time-understanding.

We investigated the perception of developmental changes in timing patterns that happen in the course of second language (L2) acquisition, provided that the native and the target languages of the learner are rhythmically similar (German and English). It was found that speech rhythm in L2 English produced by German learners becomes increasingly stress-timed as acquisition progresses. This development is captured by the tempo-normalized rhythm measures of durational variability. Advanced learners also deliver speech at a faster rate. However, when (...) native speakers have to classify the timing patterns characteristic of L2 English of German learners at different proficiency levels, they attend to speech rate cues and ignore the differences in speech rhythm. (shrink)

The paper focuses on concerns and legal challenges brought on by the use of algorithms. A particular class of algorithms that augment or replace analysis and decision-making by humans, i.e. data analytics and machine learning, is under scrutiny. Taking into account Balkin’s work on “the laws of an algorithmic society”, attention is drawn to obligations of transparency, matters of due process, and accountability. This US-centric analysis on drawbacks and loopholes of current legal systems is complemented with the analysis of norms (...) and principles of the EU data protection law, or “GDPR”. The aim is twofold. On the one hand, the intent is to shed light on some crucial differences between the US and EU law on the regulation of algorithmic operators, both public and private. Whereas, in the USA, scholars debate whether and to what extent new duties and responsibilities of algorithmic operators, e.g. information fiduciaries, have to amend the current framework of self-regulation and light government—as shown by the White House’s Office of Science and Technology Policy report from November 2016—in EU law much of the new duties and responsibilities of algorithmic operators have been passed upon them as data controllers. Whether such approaches will successfully tackle the normative challenges of the algorithmic society is, on the other hand, an open issue that will likely represent the main topic of debate over the next years. Disagreement may concern: the terms framing the legal question in e.g. statistical purposes of the data processing; how such terms are related to each other in legal reasoning ; and legal hard cases that will increasingly have to do with the principles that are at stake also but not only in data protection. By entrusting such legal hard cases to algorithms, or some sort of smart artificial agent, humans still bear full responsibility for the judgment of what is socially, ethically, and legally “plain” and “hard” in social affairs. The balance between delegation of decisions to algorithms and non-delegation will be the leitmotiv of the algorithmic society. Since the devil is in the detail, the current paper is devoted to some of them. (shrink)

B. Kowalzig, « Broken Rhythms in Plato's Laws. Materialising Social Time in the Chorus » in A.-E. Peponi, Performance and Culture in Plato's Laws, Cambridge, Cambridge University Press, 2013. Le texte de Barbara Kowalzig est en partie accessible en ligne ici. - Philosophie – Nouvel article.

Music rhythm detection and tracking is an important part of the music comprehension system and visualization system. The music signal is subjected to a short-time Fourier transform to obtain the frequency spectrum. According to the perception characteristics of the human auditory system, the spectrum amplitude is logarithmically processed, and the endpoint intensity curve and the phase information of the peak value are output through half-wave rectification. The Pulse Code Modulation characteristic value is extracted according to the autocorrelation characteristic of (...) the endpoint intensity curve. This article proposes a rhythm detection algorithm based on multipath search and cluster analysis; that is, based on the clustering algorithm, it absorbs the idea of multipath tracking and proposes its own detection and tracking algorithm. It overcomes the weakness of the clustering algorithm that needs to use Musical Instrument Digital Interface auxiliary input to achieve the desired effect. This algorithm completely uses the PCM signal as the input, which is more robust than the clustering algorithm. The whole process is carried out in the time domain, and the amount of calculation is much smaller than the frequency domain calculation of multipath tracking, and the linear relationship with the rhythm of the music is much better than the filter bank algorithm. This algorithm can successfully detect the rhythm of the music with a strong sense of rhythm and can track the specific position of the rhythm point. (shrink)

In this article, I draw attention to some important points of intersection in the work of Henri Bergson and Friedrich Nietzsche. In particular I focus on the overlapping nature of their naturalisms. This proves enlightening for an overall appreciation of their respective philosophical projects but also allows those projects to be inscribed within a broader set of naturalistic traditions to which I think they contribute in interesting ways. I begin by assessing how Bergson's and Nietzsche's general problematics are shaped by (...) the antinaturalistic character of their targets, more specifically the appeals to the immobile and the unconditional that they expose in their critical approaches. I move on to examine the core components of their naturalistic responses, highlighting how both thinkers extend introspective insights about the psyche and the body to make claims regarding broader activity patterns across nature and ground these new monistic continua in their concepts of rhythms and drives. Lastly; I draw out three important consequences on which these moves jointly converge, with particular emphasis on the “quantal” nature of the ontologies they outline. Moving beyond the comparative perspective, I conclude by using these points to situate Bergson and Nietzsche among three different lineages of naturalism: metaphysical antireductionist, and Epicurean. (shrink)

Previous chapter As in 1896, Bücher ended his book with a chapter entitled “Der Rhythmus als ökonomisches Entwicklungsprincip – Rhythm as Principle of Economic Development,” which contained most of his ethical and—if much less explicitly—political suggestions. It is of great historical and theoretical interest to us because it proposed a complete ethics of rhythm which had rapidly very tangible consequences. Rhythm as Principle of Economic Development Chapter 9, which was - Économie et Marxisme – Nouvel article.

In this article, two dance educators offer a definition of rhythm from both educational and performance perspectives and discuss pedagogical practices that waken students’ awareness to rhythm as a lived-experience over which they have creative control. For the dancer, in the midst of the dance, rhythms are, in the words of Margaret H’Doubler, recurring patterns of measured energy. These patterns are nested in scales from the moment-to-moment shifts in muscular contraction and release to the rise and fall of (...) dramatic tension in a performed dance. This approach to rhythm runs counter to many dance students’ studio-based training in which rhythm is equated to synchronizing accents to a specific meter. The authors describe pedagogical practices in the studio that foster engagement with rhythm as lived-experience. Drawing attention to their kinesthetic experience while moving, students are encouraged to modulate levels of exertion embedded in the qualities of movement they are experiencing. As varying levels of exertion are attended to across temporal durations, students notice patterns as they emerge and recur. This attention to recurring patterns of measured exertion is, the authors claim, the lived-experience of rhythm in dance. (shrink)

ABSTRACT This article argues that Hegel’s speculative logic has an essentially rhythmic structure. Rhythm shows up in paragraphs 56–61 of the Preface to the Phenomenology of Spirit, where Hegel introduces the speculative proposition and explains his speculative logic. The article begins by analyzing some critical sections in the Preface to show how rhythm secures the formal passage of the subject into the predicate within the speculative proposition. Then, I briefly explore how Hegel’s speculative logic gets taken up in (...) the writings of Gadamer and Nancy to show how each of these thinkers renews the rhythm of Hegel’s speculative logic in their own appropriations of it. The article concludes by extending the scope of speculation, taking it from the proposition to non-propositional forms of expression, and then finally to the sensible world. (shrink)

The specific goal of the article is to investigate the principles governing the perception of rhythmic structure in dance and music—taken separately and together—on the basis of a case study. I take as a starting point Lerdahl and Jackendoff’s (A generative theory of tonal music. MIT Press, 1983) conception of musical rhythm as the interaction between grouping and meter, and I examine to what extent it can apply to dance. Then, I explore how the rhythmical structures of music and (...) dance interact in a single event. I conclude that dance and music perception largely share the same abstract system, and the differences in the properties of their structure derives from the different (visual vs. auditory) modalities in which they are perceived; their modality difference also affects the perceived structure resulting from their combination in dance-music events. The exploration is guided by a detailed examination of the opening of Stravinsky’s _Augurs of Spring_ (1913) as choreographed by Nijinsky (1913), Béjart (1970) and Bausch (1975). By comparing these minimal pairs of dance-music events, I adapt the formal methodology of linguistics to other cognitive systems. The general goal of the article is to shed further light on the organizational principles of mental representations by comparing several cognitive systems in order to distinguish between general cognitive properties and modality-specific or domain-specific properties. (shrink)