How a Simple Exercise Could Keep Your Body Moving in Harmony
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The Perception of Melodic Consonance: an Acoustical And
The perception of melodic consonance: an acoustical and neurophysiological explanation based on the overtone series Jared E. Anderson University of Pittsburgh Department of Mathematics Pittsburgh, PA, USA Abstract The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form “flow lines” that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a model for how the auditory system judges melodic consonance, which is used to algorithmically construct melodic sequences of tones. Keywords: auditory cortex, auditory system, algorithmic composition, automated com- position, consonance, dissonance, harmonics, Helmholtz, melodic consonance, melody, musical acoustics, neuroacoustics, neurophysiology, overtones, pitch perception, psy- choacoustics, tonotopy. 1. Introduction Consonance and dissonance are a basic aspect of the perception of tones, commonly de- scribed by words such as ‘pleasant/unpleasant’, ‘smooth/rough’, ‘euphonious/cacophonous’, or ‘stable/unstable’. This is just as for other aspects of the perception of tones: pitch is described by ‘high/low’; timbre by ‘brassy/reedy/percussive/etc.’; loudness by ‘loud/soft’. But consonance is a trickier concept than pitch, timbre, or loudness for three reasons: First, the single term consonance has been used to refer to different perceptions. The usual convention for distinguishing between these is to add an adjective specifying what sort arXiv:q-bio/0403031v1 [q-bio.NC] 22 Mar 2004 is being discussed. But there is not widespread agreement as to which adjectives should be used or exactly which perceptions they are supposed to refer to, because it is difficult to put complex perceptions into unambiguous language. -
Classrooms of the Future Marty Mcfly and Dr Emmett Brown Managed To
Classrooms of the Future Marty McFly and Dr Emmett Brown managed to do it. They transported themselves through time in the film Back to the Future and its sequels. In the second film, on October 26, 1985, Dr. Emmett Brown arrived in the DeLorean time machine and persuaded Marty McFly and his girlfriend, Jennifer Parker, to travel to the future with him and help their forthcoming children. They travelled thirty years ahead to October 26, 2015. The film was actually made in 1989, some 26 years before the futuristic date in the film. The screenwriters, Robert Zemeckis and Bob Gale, attempted to predict the future. According to Zemeckis, the 2015 depicted in the film was not meant to be an accurate representation of the future. However, the film did correctly predict a number of technological and sociological changes that occurred by 2015, including: the rise of ubiquitous cameras; the use of unmanned flying drones for newsgathering; widescreen flat-panel television sets mounted on walls with multiple channel viewing; video chat systems; hands-free video games; talking hologram billboards; wearable technology; tablet computers with fingerprint scanners; and head-mounted displays. Payment on personal portable devices was also depicted. I am also trying to predict a future: that of education, yet I am not looking 26 years hence. Rather I am looking at five to seven years and the change is likely to be just as impressive as in the film, only achieved in fewer years. This is due to the exponential growth in IT and the impact it is likely to have on education. -
Changing Technology and Business Practices: Lori Brock, OSRAM
www.osram.com Effortless Adjustment of Light Distribution Lori Brock, PhD, LC | 18 Nov 2015 | Portland, OR DOE SSL Technology Development Workshop Mind-Blowing Technology Marvelous LEDs: bright, compact, efficient, … Awesome network with electronics, software, sensors, and connectivity: quick, inexpensive, reliable, … Ridiculously cool interfaces: easy, user-friendly, everywhere, … 2 Technology Allows for Many Tunable Features On/Off Examples: Dimming Occupancy sensing, Intensity Modulation Ambiance, Data transmission, Indoor positioning… Hues Examples: Information, Color Temperature Entertainment, Spectrum Color Rendering Circadian lighting, Application specific Preference, Energy, Food lighting… Aim and point Examples: Beam angle Theatrical, Direction Distribution Entertainment, Shape General illumination 3 Technology Allows for Many Tunable Features On/Off Examples: Dimming Occupancy sensing, Intensity Modulation Ambiance, Data transmission, Indoor positioning… Hues Examples: Information, Color Temperature Entertainment, Spectrum Color Rendering Circadian lighting, Application specific Preference, Energy, Food lighting… Aim and point Examples: Beam angle Theatrical, Direction Distribution Entertainment, Shape General illumination 4 Why Focus on Direction? Voice of the Customer Study on Tunable Lighting Feature Ranking: 1. Intensity / dimming 2. Aiming / direction 3. Color temperature (warm, cool, …) 4. Colors (red, blue, …) Result: Industry professionals state that the ability to aim and point light is more important than tuning the -
NATIONAL ARBITRATION FORUM DECISION Directv, Inc. V. Future Movie Name Claim Number: FA0911001296482 PARTIES Complainant Is Dire
NATIONAL ARBITRATION FORUM DECISION DirecTV, Inc. v. Future Movie Name Claim Number: FA0911001296482 PARTIES Complainant is DirecTV, Inc. (“Complainant”), represented by Steven M. Levy, Pennsylvania, USA. Respondent is Future Movie Name (“Respondent”), California, USA. REGISTRAR AND DISPUTED DOMAIN NAME The domain name at issue is <diretv.com>, registered with Directnic, Ltd. PANEL The undersigned certifies that he or she has acted independently and impartially and to the best of his or her knowledge has no known conflict in serving as Panelist in this proceeding. Houston Putnam Lowry, Chartered Arbitrator, as Panelist. PROCEDURAL HISTORY Complainant submitted a Complaint to the National Arbitration Forum electronically on November 30, 2009; the National Arbitration Forum received a hard copy of the Complaint on December 2, 2009. On November 30, 2009, Directnic, Ltd confirmed by e-mail to the National Arbitration Forum that the <diretv.com> domain name is registered with Directnic, Ltd and that Respondent is the current registrant of the name. Directnic, Ltd has verified that Respondent is bound by the Directnic, Ltd registration agreement and has thereby agreed to resolve domain-name disputes brought by third parties in accordance with ICANN's Uniform Domain Name Dispute Resolution Policy (the "Policy"). On December 4, 2009, a Notification of Complaint and Commencement of Administrative Proceeding (the "Commencement Notification"), setting a deadline of December 24, 2009 by which Respondent could file a response to the Complaint, was transmitted to Respondent via e-mail, post and fax, to all entities and persons listed on Respondent's registration as technical, administrative and billing contacts, and to [email protected] by e-mail. -
Identity Term
Serrano I Professor Veronica Miranda English 52 September 13, 2017 Final Draft 3 Techy Workaholic i There are many identity labels, however a techy workaholic is one label that no one really has heard of or don't even know *h" it is.'So what a techy workaholic is, they ad the type of person that acts very shaky while at work und *"ul a lab coat even though they only work with )' computers that are in the office or wherever they work.'To get into more depth of what they do, there are five major things to see when y6Jl'toot at one. First, they are often never home and stay in the office working on a project while their office looks like a technology junkyard and house looks like it has never been cleaned. Then, most don't have a family at home waiting for them so they live by themselves. Next, sometimes they work in a high end job like NASA or IBM, they tt' are also much unorganized at their job but they are so good at it that they can't be fired. Lastly, 1 the way they act and live is similar like Doctor Emmett Brown from the movie Back to the Future. \'' r , First, atechy workaholic usually lives at their job and often never home. They do this t l' '\.i .1, ..,r': " ,. i becausetheyhavea1ltheirbigequipmentatt@Sometimestheygohomeif they need to work on a personal project that is not allowed in the work atea. Living away from home is an easy thing to do for them, since they only use the house for sleeping and change of clothes. -
Music: Broken Symmetry, Geometry, and Complexity Gary W
Music: Broken Symmetry, Geometry, and Complexity Gary W. Don, Karyn K. Muir, Gordon B. Volk, James S. Walker he relation between mathematics and Melody contains both pitch and rhythm. Is • music has a long and rich history, in- it possible to objectively describe their con- cluding: Pythagorean harmonic theory, nection? fundamentals and overtones, frequency Is it possible to objectively describe the com- • Tand pitch, and mathematical group the- plexity of musical rhythm? ory in musical scores [7, 47, 56, 15]. This article In discussing these and other questions, we shall is part of a special issue on the theme of math- outline the mathematical methods we use and ematics, creativity, and the arts. We shall explore provide some illustrative examples from a wide some of the ways that mathematics can aid in variety of music. creativity and understanding artistic expression The paper is organized as follows. We first sum- in the realm of the musical arts. In particular, we marize the mathematical method of Gabor trans- hope to provide some intriguing new insights on forms (also known as short-time Fourier trans- such questions as: forms, or spectrograms). This summary empha- sizes the use of a discrete Gabor frame to perform Does Louis Armstrong’s voice sound like his • the analysis. The section that follows illustrates trumpet? the value of spectrograms in providing objec- What do Ludwig van Beethoven, Ben- • tive descriptions of musical performance and the ny Goodman, and Jimi Hendrix have in geometric time-frequency structure of recorded common? musical sound. Our examples cover a wide range How does the brain fool us sometimes • of musical genres and interpretation styles, in- when listening to music? And how have cluding: Pavarotti singing an aria by Puccini [17], composers used such illusions? the 1982 Atlanta Symphony Orchestra recording How can mathematics help us create new of Copland’s Appalachian Spring symphony [5], • music? the 1950 Louis Armstrong recording of “La Vie en Rose” [64], the 1970 rock music introduction to Gary W. -
The Octave Illusion and Auditory Perceptual Integration
The Octave Illusion and Auditory Perceptual Integration DIANA DEUTSCH University of California, San Diego, La Jolla, California I. Introduction . 1 II. The Octave Illusion . 2 A. The Basic Effect . 2 B. Handedness Correlates . 4 C. Further Complexities: Ears or Auditory Space? . 6 D. Dependence of the Illusion on Sequential Interactions . 6 III. Parametric Studies of Ear Dominance . 7 A. Apparatus . 7 B. Experiment 1 . 7 C. Experiment 2 . 9 D. Experiment 3 . 10 E. Experiment 4 . .11 F. Hypothesized Basis for Ear Dominance . 13 G. Discussion . 13 IV. Parametric Studies of Lateralization by Frequency . .15 A. Experiment 1 . 15 B. Experiment 2. 16 C. Experiment 3 . 16 D. Experiment 4 . 16 E. Discussion . 18 V. The What–Where Connection . 18 Discussion . 19 VI. Conclusion . 19 References . 20 I. INTRODUCTION hemisphere damage to Brodmann’s areas 39 and 40 has been found to produce deficits in visual perceptual clas- A philosophical doctrine stemming from the empiri- sification (Warrington and Taylor, 1973). Further, vari- cists of the seventeenth and eighteenth centuries is that ous studies on human and subhuman species point to objects manifest themselves simply as bundles of attrib- an anatomical separation between the pathways medi- ute values. This doctrine has had a profound influence ating pattern discrimination on the one hand and local- on the thinking of sensory psychologists and neurophys- ization on the other (Ingle et al., 1967-1968). For exam- iologists. For example, it is assumed that when we see an ple, Schneider found that ablation of visual cortex in object, we separately appreciate its color, its shape, its hamsters led to an inability to discriminate visual pat- location in the visual field, and so on. -
The Shepard–Risset Glissando: Music That Moves
University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Social Sciences 2017 The hepS ard–Risset glissando: music that moves you Rebecca Mursic University of Wollongong, [email protected] B Riecke Simon Fraser University Deborah M. Apthorp Australian National University, [email protected] Stephen Palmisano University of Wollongong, [email protected] Publication Details Mursic, R., Riecke, B., Apthorp, D. & Palmisano, S. (2017). The heS pard–Risset glissando: music that moves you. Experimental Brain Research, 235 (10), 3111-3127. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The hepS ard–Risset glissando: music that moves you Abstract Sounds are thought to contribute to the perceptions of self-motion, often via higher-level, cognitive mechanisms. This study examined whether illusory self-motion (i.e. vection) could be induced by auditory metaphorical motion stimulation (without providing any spatialized or low-level sensory information consistent with self-motion). Five different types of auditory stimuli were presented in mono to our 20 blindfolded, stationary participants (via a loud speaker array): (1) an ascending Shepard–Risset glissando; (2) a descending Shepard–Risset glissando; (3) a combined Shepard–Risset glissando; (4) a combined-adjusted (loudness-controlled) Shepard–Risset glissando; and (5) a white-noise control stimulus. We found that auditory vection was consistently induced by all four Shepard–Risset glissandi compared to the white-noise control. This metaphorical auditory vection appeared similar in strength to the vection induced by the visual reference stimulus simulating vertical self-motion. -
Notices of the American Mathematical
ISSN 0002-9920 Notices of the American Mathematical Society AMERICAN MATHEMATICAL SOCIETY Graduate Studies in Mathematics Series The volumes in the GSM series are specifically designed as graduate studies texts, but are also suitable for recommended and/or supplemental course reading. With appeal to both students and professors, these texts make ideal independent study resources. The breadth and depth of the series’ coverage make it an ideal acquisition for all academic libraries that of the American Mathematical Society support mathematics programs. al January 2010 Volume 57, Number 1 Training Manual Optimal Control of Partial on Transport Differential Equations and Fluids Theory, Methods and Applications John C. Neu FROM THE GSM SERIES... Fredi Tro˝ltzsch NEW Graduate Studies Graduate Studies in Mathematics in Mathematics Volume 109 Manifolds and Differential Geometry Volume 112 ocietty American Mathematical Society Jeffrey M. Lee, Texas Tech University, Lubbock, American Mathematical Society TX Volume 107; 2009; 671 pages; Hardcover; ISBN: 978-0-8218- 4815-9; List US$89; AMS members US$71; Order code GSM/107 Differential Algebraic Topology From Stratifolds to Exotic Spheres Mapping Degree Theory Matthias Kreck, Hausdorff Research Institute for Enrique Outerelo and Jesús M. Ruiz, Mathematics, Bonn, Germany Universidad Complutense de Madrid, Spain Volume 110; 2010; approximately 215 pages; Hardcover; A co-publication of the AMS and Real Sociedad Matemática ISBN: 978-0-8218-4898-2; List US$55; AMS members US$44; Española (RSME). Order code GSM/110 Volume 108; 2009; 244 pages; Hardcover; ISBN: 978-0-8218- 4915-6; List US$62; AMS members US$50; Ricci Flow and the Sphere Theorem The Art of Order code GSM/108 Simon Brendle, Stanford University, CA Mathematics Volume 111; 2010; 176 pages; Hardcover; ISBN: 978-0-8218- page 8 Training Manual on Transport 4938-5; List US$47; AMS members US$38; and Fluids Order code GSM/111 John C. -
The Space-Time (And Cost) Continuum of Programmable Switches a Back to the Future Look at ROI
The Space-Time (and Cost) Continuum of Programmable Switches A Back to the Future Look at ROI By NKK Switches When Marty McFly jumped into the DeLorean, Dr. Emmett Brown had already programmed the car to travel back in time to November 5, 1955. Fans of the fictional movie Back to the Future will remember that Doc Brown spent 30 years creating the technology – including programmable pushbuttons – needed to make this possible. However, 27 years later, many in the industry are still using archaic pushbutton switches and outdated methods for their programmable switch technology. Like Doc Brown, today’s design engineers are urged to understand the finer points of the theories of relativity and the space-time (and cost) continuum. However, unlike Doc Brown, design engineers no longer have to create their own solutions. Today’s programmable switches, such as NKK’s SmartSwitch line of products, can result in significant return on investment.This ROI can be achieved through the money, time and space saving benefits of programmable switches when implemented into human machine interfaces. The Problem: Money, Time and Space Like the rotary switch on Marty McFly’s AMP or the toggle switches in the DeLorean, traditional electromechanical switches certainly have their place in modern electronics design. There are numerous situations where their use is perfectly sufficient. However, as the demand for greater functionality from devices and equipment continues to increase, many engineers have found that the use of traditional switches in certain designs is no longer a feasible option. In some situations, the use of traditional electromechanical switches on increasingly complex devices and equipment can result in three specific issues: running out of panel space; increased time to train and increased time for users to do their job effectively and without error; and finally, the financial cost of implementing dozens, hundreds or even thousands of traditional switches. -
Functional Transfer of Musical Training to Speech Perception in Adverse Acoustical Situations
Functional transfer of musical training to speech perception in adverse acoustical situations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Jianming Shen Graduate Program in Speech and Hearing Science The Ohio State University 2014 Master's Examination Committee: Dr. Lawrence L. Feth, Advisor Dr. Antoine J. Shahin Copyrighted by Jianming Shen 2014 Abstract Listeners can perceive interrupted speech as continuous, provided that the gap is masked by another extraneous sound such as white noise or a cough. This phenomenon, known as the continuity illusion or phonemic restoration, is an adaptive function of our auditory system that facilitates speech comprehension in adverse acoustic situations. In this study, we examined the hypothesis that the effect of music training, as manifested in one’s enhanced ability to anticipate envelope variation and thus perceive continuity in degraded music, can transfer to phonemic restoration. We posited that this cross-domain extension is largely due to the overlapping neural networks associated with rhythm processing in the lower-level central auditory system. Musicians and non-musicians listened to physically interrupted short music tunes and English words which contained a segment that was replaced by white noise, and judged whether they heard the stimuli as interrupted or continuous through the noise. Their perceptual threshold of continuity— here defined as the interruption duration at which they perceived the sound as continuous by a 50% chance—for each session was measured and calculated based on an adaptive procedure. Results revealed that musicians tolerated longer interruptions than non-musicians during the speech session, but not during the music session. -
The Cognitive Neuroscience of Music
THE COGNITIVE NEUROSCIENCE OF MUSIC Isabelle Peretz Robert J. Zatorre Editors OXFORD UNIVERSITY PRESS Zat-fm.qxd 6/5/03 11:16 PM Page i THE COGNITIVE NEUROSCIENCE OF MUSIC This page intentionally left blank THE COGNITIVE NEUROSCIENCE OF MUSIC Edited by ISABELLE PERETZ Départment de Psychologie, Université de Montréal, C.P. 6128, Succ. Centre-Ville, Montréal, Québec, H3C 3J7, Canada and ROBERT J. ZATORRE Montreal Neurological Institute, McGill University, Montreal, Quebec, H3A 2B4, Canada 1 Zat-fm.qxd 6/5/03 11:16 PM Page iv 1 Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © The New York Academy of Sciences, Chapters 1–7, 9–20, and 22–8, and Oxford University Press, Chapters 8 and 21. Most of the materials in this book originally appeared in The Biological Foundations of Music, published as Volume 930 of the Annals of the New York Academy of Sciences, June 2001 (ISBN 1-57331-306-8). This book is an expanded version of the original Annals volume. The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2003 All rights reserved.