SUBJECTIVE EXPERIENCE Henry Hardy
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Aistė Vaitkevičiūtė Audiating Timbre: from “Inside the Materia” to A
Aistė Vaitkevičiūtė Audiating Timbre: From “Inside the Materia” to a Textural Prototype Abstract. Timbre is usually left out the scope of audiation topics. This deficiency may be related to a historically-rooted habitude to treat timbre as an auxiliary or supplementary factor in the realm of musical practice. Although nowadays compo- sitional reality manifests as a completely different picture in regard to timbre usage, because of the lack of conceptual purity it often gets lost in the ocean of multifarious yet narrowly-oriented studies. This paper attempts at drawing conceptual guidelines for a better understanding of compositional approaches in respect of timbral manipulation as well as their possible audiative origins. Respecting both psychoacoustic specifics and culturally-determined factors, the functional potentiality of timbre is gen- erally reduced to two basic aspects: manifesting as a pure quality on one side or as a delineator (based on its contribution to identifying a sound source) on the other. In addition to this ever-lasting ambiguous implication, a hierarchical gradation is suggested for a deeper comprehension of timbre, entrenching its meaning underneath and beyond the prevailing treatment as an equivalent to a musical instrument. Two instances – Helmut Lachenmann’s Dal Niente (Interieur III) (1970) and Tristan Murail’s Ethers (1978) – are examined as reflecting polar audiative approaches in accordance with the drafted theoretical frame: one (Lachenmann) permeating deeply “inside the materia” of a sounding body and thus fracturing the unity of timbre related to one musical instrument; the other (Murail) treating timbre as a prototype for conceiving superior levels of musical structure (fused timbres, textures, illusory sound images) implemented by several levels of fusion procedures. -
Book XIV Art and Psychology
8 88 88 88ycology 8888on.com 8888 Basic Photography in 180 Days Book XIV - Art and Psychology Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Visual perception ........................................... 1 1.1.1 Visual system ......................................... 1 1.1.2 Study ............................................. 1 1.1.3 The cognitive and computational approaches ......................... 3 1.1.4 Transduction ......................................... 4 1.1.5 Opponent process ....................................... 4 1.1.6 Artificial visual perception .................................. 4 1.1.7 See also ............................................ 4 1.1.8 Further reading ........................................ 4 1.1.9 References .......................................... 4 1.1.10 External links ......................................... 5 1.2 Depth perception ........................................... 6 1.2.1 Monocular cues ........................................ 6 1.2.2 Binocular cues ........................................ 7 1.2.3 Theories of evolution ..................................... 8 1.2.4 In art ............................................. 8 1.2.5 Disorders affecting depth perception ............................. 9 1.2.6 See also ............................................ 9 1.2.7 References .......................................... 9 1.2.8 Bibliography ......................................... 10 1.2.9 External links ......................................... 10 2 Day 2 11 2.1 Human eye ............................................. -
The Phenomenological Space of Timbre Final Version
UTRECHT UNIVERSITY Faculty of Humanities Research Master Musicology The Phenomenological Space of Timbre Diederik de Ceuster (3731669) June 2016 Supervisor: dr. Michiel Kamp Table of Contents Introduction …...……………………………………………………………………………… 2 1. The Sound of the Music …………………………………………………………… 2 2. A Phenomenological Method ……………………………………………………… 4 3. A Phenomenology of Music ……………………………………………………...... 7 4. Timbre as a Musical Parameter ……………………………………………………. 8 5. A Phenomenology of Timbre …………………………………………………...... 10 Chapter 1. Approaching the Concept of Timbre ……………………………………………. 13 1. Defining Timbre ………………………………………………………………….. 13 2. The Historiographical Concept of Timbre ……………………………………...…17 3. Timbre as an Acoustic Feature ………………………………………………….... 20 4. Towards a Meaningful Description of Timbre …………………………………… 26 Chapter 2. A Phenomenological Description of Timbral Space ……………………………. 30 1. The Spatiality of Timbre …………………………………………………………. 30 2. Timbre and Sound Space ………………………………………………………… 33 3. Timbre and Musical Space ……………………………………………………….. 40 4. Timbre as Prereflective Experience ……….……………………………………... 42 5. Varieties in Spatiality in Timbre Perception ……………………………………... 47 Reflections and Conclusions ………………………….……………………………….……. 55 1. Reflecting on the Prereflective Experience ………………………………………. 55 2. Issues of a Phenomenological Methodology ……………………………………... 57 3. Final Conclusions ………………………………………………………………… 59 Bibliography ………………………………………………………………………………... 62 1 Introduction You hear the briefest snatch of sound and know, “Oh, that’s ‘Good -
Chapter 6 Visual Perception
Chapter 6 Visual Perception Steven M. LaValle University of Oulu Copyright Steven M. LaValle 2019 Available for downloading at http://vr.cs.uiuc.edu/ 154 S. M. LaValle: Virtual Reality Chapter 6 Visual Perception This chapter continues where Chapter 5 left off by transitioning from the phys- iology of human vision to perception. If we were computers, then this transition might seem like going from low-level hardware to higher-level software and algo- rithms. How do our brains interpret the world around us so effectively in spite of our limited biological hardware? To understand how we may be fooled by visual stimuli presented by a display, you must first understand how our we perceive or interpret the real world under normal circumstances. It is not always clear what we will perceive. We have already seen several optical illusions. VR itself can be Figure 6.1: This painting uses a monocular depth cue called a texture gradient to considered as a grand optical illusion. Under what conditions will it succeed or enhance depth perception: The bricks become smaller and thinner as the depth fail? increases. Other cues arise from perspective projection, including height in the vi- Section 6.1 covers perception of the distance of objects from our eyes, which sual field and retinal image size. (“Paris Street, Rainy Day,” Gustave Caillebotte, is also related to the perception of object scale. Section 6.2 explains how we 1877. Art Institute of Chicago.) perceive motion. An important part of this is the illusion of motion that we perceive from videos, which are merely a sequence of pictures. -
From Tape to Typedef: Compositional Methods in Electroacoustic Music
University of Sheffield Department of Music From Tape to Typedef: Compositional Methods in Electroacoustic Music January 30th 2013 - February 2nd 2013 Contents 1 From Tape to Typedef: Compositional Methods in Electroacoustic Music 2 2 Wednesday 30th January 2013 3 2.1 Workshop 1 . .3 2.2 Paper Session 1 . .3 2.3 Concert 1 . .5 2.4 Paper Session 2 . .7 2.5 Concert 2 . .9 3 Thursday 31st January 2013 11 3.1 Workshop 2 . 11 3.2 Paper Session 3 . 11 3.3 Concert 3 . 13 3.4 Paper Session 4 . 15 3.5 Concert 4 . 16 4 Friday 1st February 2013 18 4.1 Workshop 3 . 18 4.2 Paper Session 5 . 18 4.3 Concert 5 . 20 4.4 Paper Session 6 . 22 4.5 Concert 6 . 23 5 Saturday 2nd February 2013 26 5.1 Paper Session 7 . 26 5.2 Concert 7 . 28 6 Biographies 31 1 1 From Tape to Typedef: Compositional Methods in Electroacous- tic Music Welcome to Sheffield and `From tape to typedef: Compositional Methods in Electroacoustic Music'. Sheffield is known for its warm and hearty welcome and Sheffield University for its determination and grit so no mat- ter what the weather, staff and students will be here to help you feel at home, particularly after the business of the day has concluded! If you've got this far you will already know something about what this event is about - electroacoustic mu- sic: how and why we record, manipulate, select and organize sound as composers and listeners. Also, how we present this music in performance. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. PHONETICBIASESANDSYSTEMICEFFECTSINCooperation, Social Selection, and Language Change: An Experimental THEACTUATIONOFSOUNDCHANGE Investigation of Language Divergence Márton S´oskuthy Gareth Roberts I V N E R U S E I T H Y T O H F G E R D I N B U A thesis submitted in fulfilment of requirements for the degree of A thesis submitted inDoctor fulfilment of ofPhilosophy requirements for the degree of DOCTOROFPHILOSOPHY to Linguistics and English Language to Linguistics and English Language School of Philosophy, Psychology and Language Sciences School of Philosophy, Psychology and Language Sciences University of Edinburgh UNIVERSITY of EDINBURGH 2010 March 2013 DECLARATION I hereby declare that this thesis is of my own composition, and that it con- tains no material previously submitted for the award of any other degree. -
Brain, Biology and Behaviour
HPS310 BRAIN, BIOLOGY AND BEHAVIOUR Table of Contents TOPIC 1: THE MIND-BODY PROBLEM ............................................. Error! Bookmark not defined. A Brief History of Neuroscience ..................................................... Error! Bookmark not defined. Cardio Centralist Model .......................................................................... Error! Bookmark not defined. Discovery of the Nervous System ............................................................ Error! Bookmark not defined. Beginnings of Modern Neurology .................................................. Error! Bookmark not defined. Thomas Willis (1621 – 1675) ................................................................... Error! Bookmark not defined. Albrecht von Haller (1708 – 1777): Irritability and Sensibility ................ Error! Bookmark not defined. Animal Electricity: Emil Du Bois-Reymond (1919 – 1896) ....................... Error! Bookmark not defined. Phrenology – having your bumps read ................................................... Error! Bookmark not defined. Localization of function ........................................................................... Error! Bookmark not defined. Paul Broca (1824 -1880) ....................................................................... Error! Bookmark not defined. Carl Wernicke (1848 – 1905) ................................................................ Error! Bookmark not defined. Wilder Penfield (1891 – 1976) ............................................................. -
Chapter 6 Visual Perception
Chapter 6 Visual Perception Steven M. LaValle University of Oulu Copyright Steven M. LaValle 2020 Available for downloading at http://lavalle.pl/vr/ 152 S. M. LaValle: Virtual Reality Chapter 6 Visual Perception This chapter continues where Chapter 5 left off by transitioning from the phys- iology of human vision to perception. If we were computers, then this transition might seem like going from low-level hardware to higher-level software and algo- rithms. How do our brains interpret the world around us so effectively in spite of our limited biological hardware? To understand how we may be fooled by visual stimuli presented by a display, you must first understand how our we perceive or interpret the real world under normal circumstances. It is not always clear what we will perceive. We have already seen several optical illusions. VR itself can be Figure 6.1: This painting uses a monocular depth cue called a texture gradient to considered as a grand optical illusion. Under what conditions will it succeed or enhance depth perception: The bricks become smaller and thinner as the depth fail? increases. Other cues arise from perspective projection, including height in the vi- Section 6.1 covers perception of the distance of objects from our eyes, which sual field and retinal image size. (“Paris Street, Rainy Day,” Gustave Caillebotte, is also related to the perception of object scale. Section 6.2 explains how we 1877. Art Institute of Chicago.) perceive motion. An important part of this is the illusion of motion that we perceive from videos, which are merely a sequence of pictures. -
Principles of Music Composing: Muzikos Komponavimo Principai
Lietuvos muzikos ir teatro akademija Lithuanian Academy of Music and Theatre Lietuvos kompozitorių sąjunga Lithuanian Composers’ Union 18-oji tarptautinė 18th International muzikos teorijos konferencija Music Theory Conference Vilnius, 2018 lapkričio 13–15 Vilnius, 13–15 November 2018 MUZIKOS PRINCIPLES KOMPONAVIMO OF MUSIC PRINCIPAI: COMPOSING: nuo audijavimo Links between Audiation link komponavimo and Composing XVIII Vilnius Lietuvos muzikos ir teatro akademija 2018 ISSN 2351-5155 REDAKcinė KOlegija / EDITOrial BOarD Vyr. redaktorius ir sudarytojas / Editor-in-chief Prof. Dr. Rimantas Janeliauskas Redaktoriaus asistentai / Assistant editors Assoc. prof. Marius Baranauskas Aistė Vaitkevičiūtė Nariai / Members Prof. James Dalton (Bostono konservatorija, JAV / Boston Conservatory, USA) Dr. Bert Van Herck (Naujosios Anglijos muzikos konservatorija, JAV / New England Conservatory of Music, USA) Dr. Mark Konewko (Diedericho komunikacijos koledžas, Marquette’o Universitetas, JAV / Diederich College of Communication at Marquette University, USA) Prof. Dr. Antanas Kučinskas (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Assoc. prof. Dr. Ramūnas Motiekaitis (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Dr. Jānis Petraškevičs (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Prof. Dr. Pavel Puşcaş (Muzikos akademija Cluj-Napoca, Rumunija / Music Academy Cluj-Napoca, Romania) Prof. Roger Redgate (Goldsmito Londono universitetas, -
Ciccone 2018.Pdf
A multifaceted approach into the effect of coloured environment on impulsivity using personality, behavioural and neurological methods. Nicholas William Ciccone Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Faculty of Arts, Humanities and Cultures School of Design February, 2018 - ii - The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2018 The University of Leeds and Nicholas William Ciccone - iii - Acknowledgements I would like to express my gratitude to my supervisor Professor Stephen Westland for his continued support through this process. Meetings with him always helped to re-energise and focus my mind on my research and his considerable knowledge has helped me understand the complexities of colour science. I hope to stay in contact and find opportunities to work together in the future. I would also like to thank my mother Suzanne Ciccone and siblings Joseph Ciccone and Annabella Ciccone for their emotional support through this process, my father Nicholas Ciccone for his financial support and my friends Solomon Horton and Aaron Ritchie along with colleagues for the many coffee breaks and conversations that have picked me up in the tougher times and helped me celebrate the good ones. - iv - Abstract The direct interplay between colour and impulsivity has yet to be researched despite growing interest and activity in the field. -
1 on the Evolution of Subjective Experience Jerome A
On the Evolution of Subjective Experience Jerome A. Feldman (ICSI and UC Berkeley) This 2021 revision is largely unchanged from the previous arXiv version, but includes newer references and some additional discussion in italics. The companion arXiv article, Mysteries of Visual Experience http://arxiv.org/abs/1604.08612 has also been updated. 1. Prologue “The most beautiful thing we can experience is the mysterious. It is the source of all art and science.” Einstein The ancient mind-body problem continues to be one of deepest mysteries of science and of the human spirit. A compelling contemporary version is expressed by the distinguished physicist Frank Wilczek, (A beautiful Question, p.480). I am, and you are, a collection of quarks, gluons, electrons and photons. I am, and you are, a thinking person. To experience some of the mystery of vision, look up from this text and consider the richness of your surrounds. All of this magnificence is produced for your personal experience in ways that remain unknown. For one thing, your eyes shift about two hundred times per minute without your mind noticing it. The resulting mental “illusion” is a large detailed stable image of the scene. The stable image in the mind enables us to act effectively as if our vision system were like a camera. But despite millennia of effort, no one understands the link between the visual system (body) and the mind. One underlying issue is that terms like “mind” and “consciousness” have many meanings that confound scientific study. The core of the mind-body mystery (often called the hard problem) has always rested on our phenomenal feelings of Subjective Experience (SE) and this term will be used here.