The pandemic caused by the COVID 19 Virus creates an unprecedented situation of global confinement altering the development of competition and sports training at all levels of participation and in all sports, including rhythmic gymnastics (RG). To avoid possible effects of physical, technical and psychological detraining, coaches looked for home training alternatives. The objectives of the study were to know how rhythmic gymnastics training developed during the lockdown period (the conditions, type of training, performance monitoring means, (...) and determinants of gymnasts’ participation) and to provide recommendations for a possible future lockdown. Three hundred and two RG coaches from twenty-six different countries throughout the five continents and four professional levels took part in the study: national team (28), international (26), national (172) and regional (75). The data collection tool was a questionnaire consisting of 39 closed questions structured in three dimensions: identification data of the coaches, training data during confinement and gymnast participation data. The independent variable was the gymnasts’ performance levels and the dependent variables organized in four categories: the technical media used to conduct and monitor the training sessions, the type of training done, the mechanisms for monitoring training performance and the aspects that determined participation. Most coaches kept their gymnasts training during confinement, although 76.5% confirm abandonment of any of their gymnasts. The main means used were real-time video conferencing, although at the lower practice levels the media stand out in deferred time. The contents of the training were mainly body technique, physical preparation and body difficulties. For performance monitoring, challenges, physical, and technical tests were predominant. The determinants for the development of training in the confinement vary depending on the level of the gymnasts, connectivity and electronic resources at the highest level, and the availability of spaces and social distancing at lower levels. For future lockdowns, it is necessary to review the content of the trainings, as well as the performance evaluation and the means necessary for it. (shrink)

The present study explored the types of stressors faced by rhythmic gymnastics athletes, their parents, and coaches. Semi-structured interviews with 12 participants—four gymnasts, five coaches, and three parents—were analyzed using reflexive thematic analysis in a theory-driven framework. The categorizations of sport-related stressors for the parents, coaches, and gymnasts were based on existing theories. The results showed that both the gymnasts and the coaches predominantly noted mastery-avoidance goals in terms of performance, while the interviews with parents mostly indicated performance-avoidance (...) goals. All three groups of participants consistently reported a detrimental atmosphere in rhythmic gymnastics. For instance, they emphasized the stress related to inadequate communication between the concerned parties. Moreover, all parties believed that having a lean body was linked to success in the competitive world of rhythmic gymnastics. The present study provides insight into some of the potential major stressors and the related subjective experiences affecting athletes socializing in the same sporting environment. (shrink)

Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully connect (...) such diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’. (shrink)

Moral development, achievement goal, and athletic identity are considered psychological constructs sharing specific cognitive, social, motivational, and behavioral traits. The purpose of the present article is to investigate the relation among moral orientations, athletic identity, and social goal orientations. In addition, the impact of age, gender, type of sport, sport division, and school performance on moral orientation has also been investigated. One hundred forty athletes of artistic gymnastics, rhythmic gymnastics, and acrobatic gymnastics (n?=?29 boys, n?=?111 girls), (...) aged 8 to 17, participated in the research. They belonged to IV, III, II, and I sport divisions. The participants filled in three questionnaires: Moral Orientation Students in Physical Education Questionnaire, Athletic Identity Measurement Scale, and Social Goal Orientation Questionnaire. The results established that moral orientation is related to the athletic identity and achievement social goal constructs, as well as the fact that they affect school performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and suspect (...) perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)

7 lectures, Torquay, UK, August 12-20, 1924 (CW 311) These seven intimate, aphoristic talks were presented to a small group on Steiner's final visit to England. Because they were given to "pioneers" dedicated to opening a new Waldorf school, these talks are often considered one of the best introductions to Waldorf education. Steiner shows the necessity for teachers to work on themselves first, in order to transform their own inherent gifts. He explains the need to use humor to keep their (...) teaching lively and imaginative. Above all, he stresses the tremendous importance of doing everything in the knowledge that children are citizens of both the spiritual and the earthly worlds. And, throughout these lectures, he continually returns to the practical value of Waldorf education. These talks are filled with practical illustrations and revolve around certain themes--the need for observation in teachers; the dangers of stressing the intellect too early; children's need for teaching that is concrete and pictorial; the education of children's souls through wonder and reverence; the importance of first presenting the "whole," then the parts, to the children's imagination. Here is one of the best introductions to Waldorf education, straight from the man who started it all. German source: Die Kunst des Erziehens aus dem Erfassen der Menschenwesenhiet (GA 311). ∞ ∞ ∞ SYNOPSIS OF THE LECTURES LECTURE 1: The need for a new art of education. The whole of life must be considered. Process of incarnation as a stupendous task of the spirit. Fundamental changes at seven and fourteen. At seven, the forming of the "new body" out of the "model body" inherited at birth. After birth, the bodily milk as sole nourishment. The teacher's task to give "soul milk" at the change of teeth and "spiritual milk" at puberty. LECTURE 2: In first epoch of life child is wholly sense organ. Nature of child's environment and conduct of surrounding adults of paramount importance. Detailed observation of children and its significance. In second epoch, seven to fourteen, fantasy and imagination as life blood of all education, e.g., in teaching of writing and reading, based on free creative activity of each teacher. The child as integral part of the environment until nine. Teaching about nature must be based on this. The "higher truths" in fairy tales and myths. How the teacher can guide the child through the critical moment of the ninth year. LECTURE 3: How to teach about plants and animals (seven to fourteen). Plants must always be considered, not as specimens, but growing in the soil. The plant belongs to the earth. This is the true picture and gives the child an inward joy. Animals must be spoken of always in connection with humans. All animal qualities and physical characteristics are to be found, in some form, in the human being. Humans as synthesis of the whole animal kingdom. Minerals should not be introduced until twelfth year. History should first be presented in living, imaginative pictures, through legends, myths, and stories. Only at eleven or twelve should any teaching be based on cause and effect, which is foreign to the young child's nature. Some thoughts on punishment, with examples. LECTURE 4: Development of imaginative qualities in the teacher. The story of the violet and the blue sky. Children's questions. Discipline dependent on the right mood of soul. The teacher's own preparation for this. Seating of children according to temperament. Retelling of stories. Importance of imaginative stories that can be recalled in later school life. Drawing of diagrams, from ninth year. Completion and metamorphosis of simple figures, to give children feeling of form and symmetry. Concentration exercises to awaken an active thinking as basis of wisdom for later life. Simple color exercises. A Waldorf school timetable. The "main lesson." LECTURE 5: All teaching matter must be intimately connected with life. In counting, each different number should be connected with the child or what the child sees in the environment. Counting and stepping in rhythm. The body counts. The head looks on. Counting with fingers and toes is good (also writing with the feet). The ONE is the whole. Other numbers proceed from it. Building with bricks is against the child's nature, whose impulse is to proceed from whole to parts, as in medieval thinking. Contrast atomic theory. In real life we have first a basket of apples, a purse of coins. In teaching addition, proceed from the whole. In subtraction, start with minuend and remainder; in multiplication, with product and one factor. Theorem of Pythagoras (eleven-twelve years). Details given of a clear, visual proof, based on practical thinking. This will arouse fresh wonder every time. LECTURE 6: In first seven years etheric body is an inward sculptor. After seven, child has impulse to model and to paint. Teacher must learn anatomy by modeling the organs. Teaching of physiology (nine to twelve years) should be based on modeling. Between seven and fourteen astral body gradually draws into physical body, carrying the breathing by way of nerves, as playing on a lyre. Importance of singing. Child's experience of well being like that of cows chewing the cud. Instrumental music from beginning of school life, wind or strings. Teaching of languages; up to nine through imitation, then beginnings of grammar, as little translation as possible. Vowels are expression of feeling, consonants are imitation of external processes. Each language expresses a different conception. Compare head, Kopf, testa. The parts of speech in relation to the life after death. If language is rightly taught, out of feeling, eurythmy will develop naturally, expressing inner and outer experiences in ordered movements--"visible speech." Finding relationship to space in gymnastics. LECTURE 7: Between seven and fourteen soul qualities are paramount. Beginnings of science teaching from twelfth year only, and connected with real phenomena of life. The problem of fatigue. Wrong conceptions of psychologists. The rhythmic system, predominant in second period, never tires. Rhythm and fantasy. Composition. Sums from real life, not abstractions. Einstein's theory. The kindergarten--imitation of life. Teachers' meetings, the heart of the school. Every child to be in the right class for its age. Importance of some knowledge of trades, e.g., shoemaking, handwork, and embroidery. Children's reports-- characterization, but no grading. Contact with the parents. QUESTIONS AND ANSWERS: The close relationship of Multiplication and Division. How to deal with both together. Transition from the concrete to the abstract in Arithmetic. Not before the ninth year. Healthiness of English weights and measures as related to real life. Decimal system as an intellectual abstraction. Drawing. Lines have no reality in drawing and painting, only boundaries. How to teach children to draw a tree in shading, speaking only of light and color. (Illustration). Line drawing belongs only to geometry. Gymnastics and Sport. Sport is of no educational value, but necessary as belonging to English life. Gymnastics should be taught by demonstration. Religious Instruction. Religion lessons in the Waldorf school given by Catholic priest and Protestant pastor. "Free" religion lessons provided for the other children. Plan of such teaching described, of which the fundamental aim is an understanding of Christianity. The Sunday services. Modern Language Lessons. Choice of languages must be guided by the demands of English life. These can be introduced at an early age. Direct method in language teaching. Closing words by Dr. Steiner on the seriousness of this first attempt to found a school in England. (shrink)

Performance and control of upright bipedal posture requires a constant and dynamic integration of relative contributions of different sensory inputs (i. e., sensory reweighting) to enable effective adaptations as individuals face environmental changes and perturbations. Children with gymnastic experience showed balance performance closer to that of adults during and after proprioceptive alteration than children without gymnastic experience when their center of pressure (COP) was analyzed. However, a particular COP sway can be achieved through performing and coordinating different postural movements. The (...) aim of this study was to assess how children and adults of different gymnastic experience perform and control postural movements while they have to adjust balance during and after bilateral tendon vibration. All participants were equipped with spherical markers attached to their skin and two vibrators strapped over the Achilles tendons. Bipedal stance was performed in three 45-s trials in two visual conditions (eyes open, EO, and eyes closed, EC) ordered randomly in which vibration lasted 10 s. Posture movements were analyzed by a principal component analysis (PCA) calculated on normalized and weighted markers coordinates. The relative standard deviation of each principal movement component (principal position, PP-rSTD) quantified its contribution to the whole postural movements, i.e., quantified the coordinative structure. The first (principal velocities, PV-rSTD) and second (principal accelerations, PA-rSTD) time-derivatives characterized the rate-dependent sensory information associated with and the neuromuscular control of the postural movements, respectively. Children without gymnastic experience showed a different postural coordinative structure and different sensory-motor control characteristics. They used less ankle movements in the anterior-posterior direction but increased ankle movements in medio-lateral direction, presented larger hip and trunk velocities, and exhibited more hip actions. Gymnastic experience during childhood seemed to benefit the development of proprioceptive reweighting processes in children, leading to a more mature form of coordinating and controlling posture similarly to adults. (shrink)

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; (...) quality; and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches. These clinical case examples are introduced here and several more are included in the Supplementary Material. A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach. (shrink)

This review locates the 1980 lectures within the context of the wider discussions of Foucault and religion; highlighting the influence of George Dumézil on the comparative and structural analysis. Assessing the problem of the historical accuracy of Christian history in Foucault’s work and the nature of the archaeological approach, the review explores what would be fair to ask of Foucault’s 1980 lectures on Christianity. The review focuses on the internal consistency, selections and theoretical tensions. While acknowledging that Foucault picks up (...) the important shift towards external ritual performance of early Christian life, the review questions Foucault’s lack of appreciation of the notion of “sacramentum,” which informs the central interpretative framework of “truth acts.” The review suggests that Foucault’s thinking is shaped by an “expressionist theology” and operates on a false binary distinction between faith and practice. It shows the problematic reading of Tertullian and the indivisibility between acts and faith in his work and reveals the counter-conduct and freedom practices in Tertullian’s later Montanist commitment—which rejected church authority for inner commitment to God—and also suggests a gendered dimension to expressionist acts. The review reveals Foucault’s own inability to split the faith-practice dichotomy—on which his expressionistic argument depends—and highlights the tensions that persist in maintaining a “truth-act” model from early Christian life. It concludes by suggesting that the philosophy-theology relation in Foucault opens more questions than it resolves. (shrink)

In the Panathenaic Games, there was a torch race for teams of ephebes that started from the altars of Eros and Prometheus at Plato’s Academy and finished on the Acropolis at the altar of Athena, goddess of wisdom. It was competitive, yes, but it was also sacred, aimed at a noble goal. To win, you needed to cooperate with your teammates and keep the delicate flame alive as you ran up the hill. Likewise, Plato’s philosophy combines competition and cooperation in (...) pursuit of the goal of wisdom. On one level, agonism in Plato is explicit: he taught in a gymnasium and featured gymnastic training in his educational theory. On another level, it is mimetic: Socratic dialogue resembles intellectual wrestling. On a third level, it is metaphorical: the athlete’s struggle illustrates the struggle to be morally good. And at its highest level, it is divine: the human soul is a chariot that races toward heaven. This volume explores agonism in Plato on all of these levels, inviting the reader—as Plato does—to engage in the megas agōn of life. Once in the contest, as Plato’s Socrates says, we’re allowed no excuses. (shrink)

This article explores the rhythmic body with the example of the embodiment of the ‘bashment gal’ and the role she plays in the dancehall sound system session. It considers rhythm as an energetic patterning process operating both within and between media. Rhythm provides a means of communication and making sense that does not rely on representation or code. There are three elements to performance techniques of the rhythmic body – amplification, inflection and transduction. Amplification for the bashment gal’s (...) performance techniques involves increasing the size or effort of her dance movements, dancing in a chorus line accelerating her tempo. In what is considered as a hyper-sexualized arena of the dancehall session, it is argued that the bashment gal has to be understood in terms of African traditions where sexual pleasure and fertility are not separate. With rhythmic inflection the bashment gal gives distinctiveness to her performance, as is much prized in the style and fashion of the dancehall scene. The transduction of patterning from one medium to another, via tympanic surfaces, helps to forge the sound system session and the bashment gal as a rhythmic whole and fosters her sense of identity as a rhythmic body. (shrink)

In Taking Care of Youth and the Generations, Bernard Stiegler develops an account of the pedagogical responsibilities which follow from rhythmic intergenerational flows, involving the creation of milieus which care for and pay attention to the future, toward the creation of nootechnical milieus. Such milieus are defined by their objects of attention: intellectual life, spiritual life, and political life; taken together: noetic life. Such is the claim Alfred North Whitehead makes when arguing that the sole object of education is (...) life and the creation of an art of life which is itself a rhythmic adventure.The purpose of this paper is three-fold. First, to clarify the importance of Stiegler’s reading of Aristotle’s notion of the noetic soul in our thinking about the role, purpose, and function of educational institutions in relation to intellective, spiritual, and political life. In this paper, I will fuse this discussion with a Whiteheadian approach to rhythm, developing what I call a ‘rhythmic nootechnics’ in the service of ‘nootechnical evolution’ as, I argue, Whitehead’s approach to rhythm allows to clarify and enrich Stiegler’s reading of Aristotle. Second, and as indicated, to explore the relationship between Whitehead and Stiegler, insofar as the former has become an increasing reference point for the latter, but this relationship remains unexplored in the literature. Third, to apply this concept of ‘rhythmic nootechnics’ to think about what transformations at the level of pedagogy and politics are necessary to reinvent the university from this Stieglerian and Whiteheadian perspective. (shrink)

The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, (...) artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm. (shrink)

This article attempts a critical interpretation of Klee’s basic thoughts on the source and essence of art, based primarily on his diary entries and his lectures at the Bauhaus. The starting point of the interpretation is Klee’s fundamentally dynamic assumption of the primacy of becoming and movement vis-à-vis static being. Each work of art, for Klee, is essentially movement, although as organized and structured by rhythm. The source of the rhythmic movement he recognizes as chaos, which he defines as (...) the most elemental fact, which precedes the difference of being and becoming, of rest and movement, and with which the artist in each of its creative acts must first identify. The elemental presence of chaos is the point, not an abstract and dead mathematical one, but one that is alive and moving, to which the force, tension, and impulse for movement essentially belongs. Every work of authentic art is the representation of the primal opposition of chaos and order, symbolized at first by the opposites of point and line. In the further development of this opposition, the multiple dimensions of contrast between straight and curved, vertical and horizontal, light and darkness as well as the various colors in their practically endless gradations coalesce within the work of art into a tension-wrought yet harmonically balanced arrangement. (shrink)

The network model of EEG formation has revealed a unified mechanism for disparate EEG phenomena: for various reactions as well as for ontogenetic and phylogenetic differences. EEG rhythmicity was shown to be an external manifestation of the functioning of the intracortical stabilizing system which provides normal informational operations in the cerebral cortex.

In two recent studies we have examined the prose rhythms in the clausulae of late imperial Latin authors. We found two clausular systems to be prevalent, the cursus and the cursus mixtus. The cursus involves the use of accentual rhythms and consists of three basic cadences: planus, tardus, and velox. The cursus mixtus has been defined by modern scholars as a type of prose rhythm in which the clausula is structured along both accentual and metrical lines, that is by the (...) combination of one of the three forms of the cursus with one of the standard metrical forms derived from Cicero's system — cretic-spondee, dicretic, cretic-tribrach, or ditrochee. (shrink)

It is not mere coincidence that several of Plato’s dialogues are set in gymnasia and palaistrai (wrestling schools), employ the gymnastic language of stripping, wrestling, tripping, even helping opponents to their feet, and imitate in argumentative form the athletic contests (agōnes) commonly associated with that place. The main explanation for this is, of course, historical. Sophists, orators, and intellectuals of all stripes, including the historical Socrates, really did frequent Athens’ gymnasia and palaistrai in search of ready audiences and potential students. (...) Perhaps they were following the example of Pythagoras, who may have been a boxing coach (gymnastēs) and was, in any case, associated with the extraordinary Olympic success of athletes from his adopted Croton—success so great it generated the saying that the last of the Crotonites was the first among all other Greeks. After his visit to Western Greece, Plato famously established his school in or adjacent to the Academy gymnasium in Athens, and he may have held the public office of Gymnasiarch there. In this essay, I would like to argue that there are also symbolic reasons for Plato setting some of his dialogues in gymnasia. These dialogues function as virtual gymnasia in which readers are coached by the character of Socrates toward an innovative ideal of aretē (virtue, excellence). (shrink)

Ultradian rhythms are those that cycle many times in a day and are therefore measured in hours, minutes, seconds or even fractions of a second. In yeasts and protists, a temperature‐compensated clock with a period of about an hour (30–90 minutes) provides the time base upon which all central processes are synchronized. A 40‐minute clock in yeast times metabolic, respiratory and transcriptional processes, and controls cell division cycle progression. This system has at its core a redox cycle involving NAD(P)H and (...) dithiol–disulfide interconversions. It provides an archetype for biological time keeping on longer time scales (e.g. the daily cycles driven by circadian clocks) and underpins these rhythms, which cannot be understood in isolation. Ultradian rhythms are the foundation upon which the coherent functioning of the organism depends. BioEssays 29:465–473, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

This musical-philosophical study brings something unique to Gilles Deleuze's philosophy of time, interweaving music improvisation, composition, and analysis, plus reformulations of Deleuze's concepts. The author draws on his own work alongside examples from the history of music practice in improvised and experimental musics, ultimately developing a new concept: Rhythmicity.

This article aims at making Heidegger’s understanding of history fruitful for a consideration of history that both takes into account the complexity and multitude of historical lineages and also pays attention to smaller historical events. After revisiting Heidegger’s understanding of history in terms of a history of being and our being-historical, the author brings into play the notion of rhythm. She thinks of rhythms of history in terms of durations of historical configurations of things and events in relation to their (...) beginnings and endings (their rhythmic caesura), and in relation to other historical confi gurations. This leads to an understanding of history in terms of being-historical that does not simply indicate things happening in time, but instead focuses on the happening that determines how things appear and are deployed. (shrink)

While recent studies have shed some light on the significance of the electrical activity of the nervous system, there has been no adequate explanation for the wave formation or synchronization of this electrical activity. Adrian sums up the problem. “The origin of the 10-a-second rhythm is still uncertain, though the evidence points to some widespread organization, probably involving the central masses as well as the cortex. There are abundant nervous connexions for coordinating the beat, and when the rhythm is well (...) developed it is possible to record impulse discharges in phase with it passing to and fro in the nerve fibers of the white matter below the cortex. But in some areas no impulse could be detected entering or leaving the cell layers, though the potential waves keep more or less in step with those elsewhere. There is no proof that the waves are kept in phase by some means which does not involve nervous signalling, for impulses in axons of small diameter might well be missed, but it is not altogether unlikely that the synchronization is due in part to a direct electrical influence of one group of nerve cells on another. Gerard and Libet have shown that synchronization can occur between the two halves of a frog's brain cut in two and then placed in contact, and more recently Arvanitaki has shown that individual nerve cells may influence one another if they are brought close together in a conducting medium. At all events there are many examples of synchronized rhythmic activity in large collections of nerve-or-muscle cells. In the optic ganglion of the water beetle, for instance, there may be both a slow rhythm when the eye is in darkness and a rapid one when the eye is exposed to a bright light. The change from a slow to a fast rhythm is curiously reminiscent of that in the cerebral cortex when a sensory stimulus abolishes the 10-a-second rhythm and substitutes one at 40–60 a second. Such resemblances in preparations of quite different structures may be quite fortuitous, but they make it difficult to resist the suggestion that the rhythms of the brain may be dependent on the general properties of cell masses rather than on any special anatomical arrangement of them. Whatever its origin, the 10-a-second rhythm of the cortex corresponds to the resting, drowsy, or inattentive state and there is no such uniform pulsation when the brain is alert.”. (shrink)

This text has already been published in P. Vostal, Inquiring into Academic Timescapes, Bingley, Emerald Publishing Limited, 2021, pp. 59-72. We thank Gonzalo Iparraguirre for the permission to republish it here. The aim of this chapter is to explore how temporalities produced by academia defines the way we learn and interpret social life, politics, and development. Academia imposes these temporalities by teaching and managing intrinsic temporal notions of social dynamics, as the - Sociologie – Nouvel article.

Rhythmic entrainment is the formation of regular, predictable patterns in time and/or space through interactions within or between systems that manifest potential symmetries. We contend that this process is a major source of symmetries in specific systems, whether passive physical systems or active adaptive and/or voluntary/intentional systems, except that active systems have more control over accepting or avoiding rhythmic entrainment. The result of rhythmic entrainment is a simplification of the entrained system, in the sense that the information (...) required to describe it is reduced. Entrainment can be communicated, passing information from one system to another. The paradigm is a group of jazz percussionists agreeing on a complex musical progression. The process of rhythmic entrainment is complementary to that of symmetry breaking, which produces information. The two processes account for much, if not all, of the complexity and organization in the universe. Rhythmic entrainment can be more or less spontaneous, with the completely spontaneous form being uncontrollable. A balance between the two forms can produce a more robust system, requiring less energy to maintain, whether in physical, biological or social systems. We outline some applications in physics, chemistry, biology, measurement and communication, ending with the especially interesting case of social and economic order. First though, we must introduce some basic principles. (shrink)

: In this paper I want to propose, from the vantage point of an experimental artist/composer, perceptual strategies focusing on the often ephemeral and unobtrusive spatio-temporal rhythmicities that nevertheless contribute to the quality of life in a settlement. The main points of reference are R. Murray Schafer's concepts of “ hi-fi and lo-fi soundscapes”, which here become “hi-fi and lo-fi environments”, i.e. are extended to include also non-sonic phenomena, and Torsten Hägerstrand's - Pour une éthique et une politique du rythme (...) – Nouvel article. (shrink)

Fundamental movement skill proficiency does not develop solely due to maturation, but also via diverse perceptual-motor experiences across childhood. Practicing gymnastics has been shown to improve postural control. The purpose of the present study was to examine potential changes to postural control of children following a course of educational gymnastics. Two groups of children both completed 20 × 45-min physical education lessons; one group completed educational gymnastics lessons in school delivered by a professional coach, the other group (...) completed their typical PE classes. Unipedal balancing performance was assessed by calculating the percentage of successful trials made. Postural sway dynamics were explored by calculating center-of-pressure sample entropy, 95% ellipse sway area and sway velocity. Measurements were taken before the lessons began and immediately after the lessons were completed. The gymnastics group performed better than the typical PE group at unipedal balancing. Females outperformed males in both groups. Males made different changes to postural control compared to females across 3 months. Educational gymnastics enabled children in a critical period of development to make more rapid improvements to postural performance and control. Novel movement experiences, like those offered by educational gymnastics, may have a positive influence on postural control and importantly, physical literacy. Future work should examine how sex effects the development of postural control strategies in young children. (shrink)

Kant’s concept of grace in Religion within the Bounds of Mere Reason is a difficult topic, exegetically speaking. Obviously enough, Kant subscribes positively to a notion of divine assistance. This appears awkward given his rationalist ethics rooted in personal autonomy. This has given cause to interpreters of Kant’s philosophy of religion – both early commentators and today – to read Kant’s account of grace is uniquely rationalist. This would make grace a rational expectation given personal commitment to good works. The (...) argument of this paper is that grace is a hyperrationalist element in Kant’s practical philosophy because of the potentially problematic consequences of Kant’s views of human nature. Human nature is namely not particularly prone to be responsive to the rational moral law and therefore requires a number of pedagogical tools that facilitate moral agency. (shrink)

Empathy is often split into an affective facet for embodied simulation or sometimes sensorial processing, and a cognitive facet for mentalizing and perspective-taking. However, a recent neurophenomenological framework proposes a graded view on empathy (i.e., “Graded Empathy”) that extends this dichotomy and considers multiple levels while integrating complex neural patterns and representations of subjective experience. In the current magnetoencephalography study, we conducted a multidimensional investigation of neural oscillatory modulations and their cortical sources in 44 subjects while observing stimuli that convey (...) vicarious pain (vs no-pain) in a broad time window and frequency range to explore rich neural representations of pain empathy. Furthermore, we collected participants’ subjective-experience of sensitivity to vicarious pain, as well as their self-reported trait levels of affective and cognitive empathy to examine the possible associations between neural mechanisms and subjective experiences and reports. While extending previous electrophysiological studies that mainly focused on alpha suppression, we found here four significant power modulation patterns corresponding to multiple facets of empathy: an early central (peaking in the paracentral sulcus) alpha (6–11 Hz) suppression pattern plausibly reflecting sensory processing, two early beta (15–23 Hz) suppression patterns in the mid-cingulate cortex (plausibly reflecting the affective component) and in the precuneus (plausibly reflecting the cognitive component), and a late anterior (peaking in the orbitofrontal cortex) alpha-beta (11–19 Hz) enhancement pattern (plausibly reflecting cognitive-control inhibitory response). Interestingly, the latter measure was negatively correlated with the subjective sensitivity to vicarious pain, thereby possibly revealing a novel inhibitory neural mechanism determining the subjective sensitivity to vicarious pain. Altogether, these multilevel findings cannot be accommodated by the dichotomous model of empathy (i.e., affective-cognitive), and provide empirical support to theGraded Empathyneurophenomenological framework. Furthermore, this work emphasizes the importance of examining multiple neural rhythms, their cortical generators, and reports of subjective-experience in the aim of elucidating the complex nature of empathy. (shrink)

Resumen: La intención del presente artículo es reexaminar el concepto bergsoniano de Duración entendido como coexistencia de niveles de multiplicidad heterogéneos. Si bien dicho concepto ha sido pensado a partir de una comprensión que podría ser caracterizada como continuista, el mismo Bergson evitará confundir dicha continuidad con la idea de homogeneidad. Intentaremos mostrar que la determinación del concepto de Duración se alcanza al definirla como tensión o entrelazamiento entre sucesión y simultaneidad, y por consiguiente, como una multiplicidad que hace coexistir (...) diferentes flujos de duración. Para ello, Bergson propone la existencia de un Tiempo impersonal y único como base para la relación entre duraciones. Nuestra hipótesis es que esta misma situación puede entenderse mejor si se articula el concepto de ritmo en la obra de Deleuze, concepto ligado íntimamente a las nociones de duración y coexistencia. Mediante los movimientos de contracción, dilatación, reunión y división, el ritmo opera junto a las duraciones disponiéndose como un campo de relación, pudiendo ocupar el lugar que había sido asignado al Tiempo único.: The aim of this paper is to reevaluate the Bergsonian concept of durée, understood as a coexistence of heterogeneous levels of multiplicity. Although this concept has been thought of from a point of view that could be characterized as "continuist", Bergson himself avoids confusing this continuity with the idea of ​​homogeneity. We will try to show that the determination of the concept of durée is reached by defining it as a tension or interlacement between succession and simultaneity, and therefore as a multiplicity based on the coexistence of different flows of duration. Bergson proposes the existence of an impersonal and unique time as the basis for the relationship between durations. Our proposal is that this same situation can be better understood through the concept of rhythm as articulated in Deleuze's work, a concept closely linked to the notions of Durée and coexistence. Through the movements of contraction, dilation, reunion, and division, rhythm operates along with the available durations as a field of relation, being able to occupy the place that had been assigned to unique time. (shrink)

Roholt explains why grooves, which are forged in music’s rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music’s pulsations. By invoking the French philosopher Maurice Merleau-Ponty’s notion of “motor intentionality,” Roholt shows that the “feel” of a groove, and the understanding of it, are two sides of a coin: (...) to “get” a groove just is to comprehend it bodily and to feel that embodied comprehension. (shrink)

Under communism, the symbolic potential of the body was multiplied in the mass gymnastic displays in order to portray the society as disciplined, strong, happy and beautiful and thus to legitimize its leadership. These gymnastic rituals followed the volkisch tradition of 19th-century mass gymnastics, which aimed at mobilization and homogenization of the `imagined community' of the nation. Behind the symbolic play of the mass gymnastics, there was, as Kracauer pointed out, a deeper relationship between modernity with its mode (...) of production and gymnastics with its mechanization of the body. The relation, however, was not a direct one, mass gymnastic displays were used to aestheticize the mass production and therefore to deny the very logic of instrumental rationality that both the gymnastics and the production were built upon. (shrink)