Interactive sonification of biomechanical quantities is gaining relevance as a motor learning aid in movement rehabilitation, as well as a monitoring tool. However, existing gaps in sonification research have prevented its widespread recognition and adoption in such applications. The incorporation of embodied principles and musical structures in sonification design has gradually become popular, particularly in applications related to human movement. In this study, we propose a general sonification model for the sit-to-stand transfer, an important (...) activity of daily living. The model contains a fixed component independent of the use-case, which represents the rising motion of the body as an ascending melody using the physical model of a flute. In addition, a flexible component concurrently sonifies STS features of clinical interest in a particular rehabilitative/monitoring situation. Here, we chose to represent shank angular jerk and movement stoppages, through perceptually salient pitch modulations and bell sounds. We outline the details of our technical implementation of the model. We evaluated the model by means of a listening test experiment with 25 healthy participants, who were asked to identify six normal and simulated impaired STS patterns from sonified versions containing various combinations of the constituent mappings of the model. Overall, we found that the participants were able to classify the patterns accurately, confidently, and in a timely manner. The amount of sonified kinematic information significantly impacted classification accuracy. The six STS patterns were also classified with significantly different accuracy depending on their kinematic characteristics. Learning effects were seen in the form of increased accuracy and confidence with repeated exposure to the sound sequences. We found no significant accuracy differences based on the participants' level of music training. Overall, we see our model as a concrete conceptual and technical starting point for STS sonification design catering to rehabilitative and clinical monitoring applications. (shrink)

“Walk on the Sun” is an interactive experience of image as music. As explorers move across images that are data projected onto the floor, their movements are visually tracked and used to select pixels in the images which they immediately hear as musical pitches played by various instruments. The sonification design maps color to one of 9 instruments, brightness to one of 50 pitches, and location in the image to panning position, creating 57,600 differentiable musical events. This high resolution (...) and interactive auditory presentation of pixel data enables the blind to explore images of the Sun from the STEREO space mission, nebula and galactic images from Hubble, as well as art masterpieces. Specifically, the blind can hear when hot spots cross the center of the Sun or the solar winds and corona are changing by sonifying virtual geometric structures, such as lines and circles, to create chords of music reflecting the changing content of the selected pixels within that structure as images are played as movies. Originally funded by a NASA/STSCI Ideas grant, the exhibit has toured to more than 12 cities in the US, visiting blind and science centers in the process and receiving enthusiastic response throughout. Plans for additional work furthering NASA wide image sonification standards are in process. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive (...) element seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation. (shrink)

The contemporary design practice known as data sonification allows us to experience information in data by listening. In doing so, we understand the source of the data in ways that support, and in some cases surpass, our ability to do so visually. -/- In order to assist us in negotiating our environments, our senses have evolved differently. Our hearing affords us unparalleled temporal and locational precision. Biological survival has determined that the ears lead the eyes. For all moving creatures, (...) in situations where sight is obscured, spatial auditory clarity plays a vital survival role in determining both from where the predator is approaching or to where the prey has escaped. So, when designing methods that enable listeners to extract information from data, both with and without visual support, different approaches are necessary. -/- A scholarly yet approachable work by one of the recognized leaders in the field of auditory design, this book will -/- - Lead you through some salient historical examples of how non-speech sounds have been used to inform and control people since ancient times. -/- - Comprehensively summarize the contemporary practice of Data Sonification. -/- - Provide a detailed overview of what information is and how our auditory perceptions can be used to enhance our knowledge of the source of data. -/- - Show the importance of the dynamic relationships between hearing, cognitive load, comprehension, embodied knowledge and perceptual truth. -/- - Discuss the role of aesthetics in the dynamic interplay between listenability and clarity. -/- - Provide a mature software framework that supports the practice of data sonification design, together with a detailed discussion of some of the design principles used in various examples. -/- David Worrall is an internationally recognized composer, sound artist and interdisciplinary researcher in the field of auditory design. He is Professor of Audio Arts and Acoustics at Columbia College Chicago and a former elected president of the International Community for Auditory Display (ICAD), the leading organization in the field since its inception over 25 years ago. -/- Code and audio examples for this book are available at -/- https:// github. com/david-worrall/springer/. (shrink)

The definition of sonification has been reframed in recent years but remains somewhat in flux; the basic concepts and procedural flows have remained relatively unchanged. Recent definitions have focused on the objective the important uses of sonification in terms of scientific method. The full realization of the potential of the field must also include the craft and art of music composition. The author proposes examining techniques of sonification in a two-order framework: direct and procedural. The impact of (...) new technologies and historical roots of that work argues that framing this broad topic should be in terms inclusive of scientific method and craftsmanship and art. The expressive use of sonic time-based data flows needs to be refined and expanded. The unexamined territory of how a broad-based population of listeners on a subjective, as well as objective level needs, have to be included in this new field. (shrink)

The public release of datasets on the internet by government agencies, environmental scientists, political groups and many other organizations has fostered a social practice of data visualization. The audiences have expectations of production values commensurate with their daily experience of professional visual media. At the same time, access to this data has allowed visual designers and artists to apply their skills to what was previously a field dominated by scientists and engineers. The ‘aesthetic turn’ in data visualization has sparked debates (...) between the new wave and older more scientifically grounded schools of thought on the topic. Sonification is not as well known or commonly practiced as visualization. But sound is a naturally affective, aesthetic and cultural medium. The extension of the aesthetic turn to sonification could transform this field from a scientific curiosity and engineering instrument into a popular mass medium. This paper proposes that a design approach can facilitate an aesthetic turn in sonification that integrates aesthetics and functionality by dissolving divisions between scientific and artistic methods. The first section applies the design perspective to the definition of sonification by replacing the linguistic concept of representation with non-verbal concept of functionality. The next section describes applications of the TaDa design method that raised aesthetic issues particular to sonification practice. The final section proposes a pragmatic aesthetics that distinguishes sonification from the auditory sciences and sonic arts. A design perspective may lead to a future where the general public tunes into pop sonifications for listening enjoyment as well as useful information about the world. (shrink)

Sound can be listened to in various ways and with different intentions. Multiple factors influence how and what we perceive when listening to sound. Sonification, the acoustic representation of data, is in essence just sound. It functions as sonification only if we make sure to listen attentively in order to access the abstract information it contains. This is difficult to accomplish since sound always calls the listener’s attention to concrete—whether natural or musical—points of references. Important aspects determining how (...) we listen to sonification are discussed in this paper: elicited sounds, repeated sounds, conceptual sounds, technologically mediated sounds, melodic sounds, familiar sounds, multimodal sounds and vocal sounds. We discuss how these aspects help the listener engage with the sound, but also how they can become points of reference in and of themselves. The various sonic qualities employed in sonification can potentially open but also risk closing doors to the accessibility and perceptibility of the sonified data. (shrink)

continent. 1.4 (2011): 239. In 1998 the Securities and Exchange Commission authorized electronic exchanges. Not only did this give day traders access to buy and sell securities from their desktops, it also made it possible for high powered Wall Street traders to program algorithms to make trades at speeds on the order of milliseconds.(1) The advent of automatic algorithmic trading, now known as high-frequency trading, has vastly accelerated the already increasing speed and volume of trading. This project was an attempt (...) to capture in an ephemeral and environmental way the dizzying acceleration of networked markets. The change in the daily closing value of the Dow and daily trading volume were each set to control a sine wave oscillator between 20 and 800hz. The oscillators were combined to ‘sonify’ the data, creating a changing noise reflecting the daily change and trading volume of the market. The resulting sound is somewhat tedious until the trading volume begins increasing in the 60s and then becomes increasingly complex as high-frequency trading and market volatility set in during the 1990s and 2000s. NOTES 1. Charles Duhigg. “Stock Traders Find Speed Pays, in Milliseconds.” New York Times . July 23, 2009. (shrink)

Numbers have been identified with symbolic data forever. The profound association of both with acoustics, music, and sonic art from Pythagoras to current work is beyond reproach. Recently, sonification looks for ways to realize symbolic data (representing results or measurements) as well as “raw” data (signals, impulses, images, etc.) into compositions. In the strictest sense, everything in a computer is symbolic, that is, represented by 0s and 1s. In the arts, the digital age has broadened and enhanced the conceptual (...) landscape not simply through its servitude to the creative process, but as its partner. However, there is a rich history of the use of data that no doubt has paved the way for many of today’s experiments including my own. (shrink)

The number of events and artifacts described as sonification has increased considerably in recent years with some works making a bridge between the representation of data and artistic expression. Flood Tide which sonifies the flow of tidal water is such a work and has achieved a relatively high profile attracting good audiences for its 10 performances to date. It is not entirely obvious however what it is that attracts audiences and whether it is effective at representing the data being (...) sonified. This paper aims to address these issues and is based on a discussion group in which these and other questions are considered. (shrink)

Since sound and music are powerful forces and drivers of human behavior and physiology, we propose the use of sonification to activate healthy breathing patterns in participants to induce relaxation. Sonification is often used in the context of biofeedback as it can represent an informational, non-invasive and real-time stimulus to monitor, motivate or modify human behavior. The first goal of this study is the proposal and evaluation of a distance-based biofeedback system using a tempo- and phase-aligned sonification (...) strategy to adapt breathing patterns and induce states of relaxation. A second goal is the evaluation of several sonification stimuli on 18 participants that were recruited online and of which we analyzed psychometric and behavioral data using, respectively questionnaires and respiration rate and ratio. Sonification stimuli consisted of filtered noise mimicking a breathing sound, nature environmental sounds and a musical phrase. Preliminary results indicated the nature stimulus as most pleasant and as leading to the most prominent decrease of respiration rate. The noise sonification had the most beneficial effect on respiration ratio. While further research is needed to generalize these findings, this study and its methodological underpinnings suggest the potential of the proposed biofeedback system to perform ecologically valid experiments at participants' homes during the COVID-19 pandemic. (shrink)

Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996–20–) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.

Data sonification is a practice for conducting scientific analysis through the use of sound to represent data. It is now transitioning to a practice for communicating and reaching wider publics by expanding the range of languages and senses for understanding complexity in data-intensive societies. Communicating to wider publics, though, requires that authors intentionally shape sonification in ways that consider the goals and contexts in which publics relate. It requires a specific set of knowledge and skills that design as (...) a discipline could provide. In this article, we interpret five recent sonification projects and locate them on a scale of intentionality in how authors communicate socially relevant issues to publics. (shrink)

The author examines concepts of real time and real-time in relation to notions of perception and processes of sonification. He explores these relationships in three case studies and suggests that sonification can offer a form of reconciliation between ontology and phenomenology, and between ourselves and the flux we are part of.

The use of sound to systematically communicate data has been with us for a long time, and has received considerable research, albeit in a broad range of distinct fields of inquiry. Sonification is uniquely capable of conveying series and patterns, trends and outliers…and effortlessly carries affect and emotion related to those data. And sound-either by itself or in conjunction with visual, tactile, or even olfactory representations-can make data exploration more compelling and more accessible to a broader range of individuals. (...) Nevertheless, sonification and auditory displays still occupy only a sliver of popular mindshare: most people have never thought about using non-speech sound in this manner, even though they are certainly very familiar with other intentional uses of sound to convey status, notifications, and warnings. This article provides a brief history of sonification, introduces terms, quickly surveys a range of examples, and discusses the past, present, and as-yet unrealized future promise of using sound to expand the way we can communicate about data, broaden the use of auditory displays in society, and make science more engaging and more accessible. (shrink)

Movements of the Mind is about what it is to be an agent. Focusing on mental agency, it integrates multiple approaches, from philosophical analysis of the metaphysics of agency to the activity of neurons in the brain. Philosophical and empirical work are combined to generate concrete explanations of key features of the mind. The book should be relevant and accessible to philosophers and scientists interested in mind and agency.

Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge - of both self and of others - has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible (...) tones) provides an organizing principle for the arguments in the book.Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts,arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability. (shrink)

In order to understand ongoing activity, observers segment it into meaningful temporal parts. Segmentation can be based on bottom‐up processing of distinctive sensory characteristics, such as movement features. Segmentation may also be affected by top‐down effects of knowledge structures, including information about actors' intentions. Three experiments investigated the role of movement features and intentions in perceptual event segmentation, using simple animations. In all conditions, movement features significantly predicted where participants segmented. This relationship was stronger when participants identified (...) larger units than when they identified smaller units, and stronger when the animations were generated randomly than when they were generated by goal‐directed human activity. This pattern suggests that bottom‐up processing played an important role in segmentation of these stimuli, but that this was modulated by top‐down influence of knowledge structures. To describe accurately how observers perceive ongoing activity, one must account for the effects of distinctive sensory characteristics, the effects of knowledge structures, and their interactions. (shrink)

Bodily movement has become an interesting topic in recent philosophy, both in analytic and phenomenological versions. Philosophy from Descartes to Kant defined the human being as a mental subject in a material body. This mechanistic attitude toward the body still lingers on in many studies of motor learning and control. The article shows how alternative philosophical views can give a better understanding of bodily movement. The article starts with Heidegger's contribution to overcoming the subject-object dichotomy and his new (...) understanding of the primacy of the practical involvement with the surrounding world. Heidegger, however, in many ways neglected the role of the human body. Merleau-Ponty took a huge step forward when he focused on the bodily intentionality of our interaction with the world. The next step was taken by Samuel Todes who presented a better understanding of how we are bodily oriented in space. After having seen how the body is oriented outward towards the environment it is proper that the final part of this article goes inward toward the role of bodily awareness and the role of proprioception in human movement. The goal of the presentation is to contribute to a better understanding of what goes on in sport. The article therefore uses examples from sport, especially football, to show the relevance of the new insights for sport studies. (shrink)

Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni (...) Riefenstahl moves through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)

The key role that animals play in our aesthetic appreciation of the natural world has only gradually been highlighted in discussions in environmental aesthetics. In this article I make use of the phenomenological notion of 'perceptual sense' as developed by Merleau-Ponty to argue that open-ended expressive-responsive movement is the primary aesthetic ground for our appreciation of animals. It is through their movement that the array of qualities we admire in animals are manifest qua animal qualities. Against functionalist and (...) formalist accounts, I defend and develop an account of expressive-responsive movement as the primary perceptual sense of animals. I go on to suggest that the primacy of movement in the aesthetic appreciation of animals is also the primary sense of animal 'wildness', and that a key part of the rewilding paradigm should be the development of such appreciation. (shrink)

Exploring the intimate tie between body movement and space and time, Lee begins with the position that body movement generates space and time and explores the ethical implications of this responsibility for the situations one’s body movements generate. Whiteness theory has come to recognize the ethical responsibility for situations not of one’s own making and hence accountability for the results of more than one’s immediate personal conscious decisions. Because of our specific history, whites have developed a particular embodiment (...) and body movement that generates places that can only be characterized as more comfortable and more enabling to whites. (shrink)

In this paper I argue for the usefulness of the concept of ‘movement compression’ for understanding sport and games, and particularly the differences between traditional sport and eSport (as currently practised). I suggest that movement compression allows us to distinguish between different activities in terms of how movement quality (in the sense of the qualities the movement possesses, rather than that the movement is of ‘high quality’) affects outcome. While it applies widely, this concept can (...) in particular help us to understand the persistent idea that eSports are in some key way distinct from traditional sports. (shrink)

This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide (...) insights into dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

Group dynamics play an important role in the social interactions of both children and adults. A large amount of research has shown that merely being allocated to arbitrarily defined groups can evoke disproportionately positive attitudes toward one’s in-group and negative attitudes toward out-groups, and that these biases emerge in early childhood. This prompts important empirical questions with far-reaching theoretical and applied significance. How robust are these inter-group biases? Can biases be mitigated by behaviors known to bond individuals and groups together? (...) How can bonds be forged across existing group divides? To explore these questions, we examined the bonding effects of interpersonal synchrony on minimally constructed groups in a controlled experiment. In-group and out-group bonding were assessed using questionnaires administered before and after a task in which groups performed movements either synchronously or non-synchronously in a between-participants design. We also developed an implicit behavioral measure, the Island Game, in which physical proximity was used as an indirect measure of interpersonal closeness. Self-report and behavioral measures showed increased bonding between groups after synchronous movement. Bonding with the out-group was significantly higher in the condition in which movements were performed synchronously than when movements were performed non-synchronously between groups. The findings are discussed in terms of their importance for the developmental social psychology of group dynamics as well as their implications for applied intervention programs. (shrink)

In French, the verb "to live" designates both being alive and the experience of something. This ambiguity has a philosophical meaning. The task of a phenomenology of life is to describe an originary sense of living from which the very distinction between life in the intransitive sense and life in the transitive, or intentional, sense proceeds. Hans Jonas is one of those rare authors who has tried to give an account of the specificity of life instead of reducing life to (...) categories that are foreign to it. However, the concept of metabolism, by which Jonas characterizes vital activity, attests to a presupposition as to life: life is conceived as self-preservation, that is, as negation of death, in such a way that life is, in the end, not thought on the basis of itself. The aim of this article is to show that life as such must be understood as movement in a radicalized sense, in which the living being is no more the subject than the product. All living beings are in effect characterized by a movement, which nothing can cause to cease, a movement that largely exceeds what is required by the satisfaction of needs and that, because of this, bears witness to an essential incompleteness. This incompleteness reveals that life is originarily bound to a world. Because the world to which the living being relates is essentially non-totalizable and unpresentable, living movement can not essentially complete itself. Thus, in the final analysis, life must be defined as desire, and in virtue of this view, life does not tend toward self-preservation, as we have almost always thought, but toward the manifestation of the world. (shrink)

In two experiments, participants solved anagram problems while their eye movements were monitored. Each problem consisted of a circular array of five letters: a scrambled four-letter solution word containing three consonants and one vowel, and an additional randomly-placed distractor consonant. Viewing times on the distractor consonant compared to the solution consonants provided an online measure of knowledge of the solution. Viewing times on the distractor consonant and the solution consonants were indistinguishable early in the trial. In contrast, several seconds prior (...) to the response, viewing times on the distractor consonant decreased in a gradual manner compared to viewing times on the solution consonants. Importantly, this pattern was obtained across both trials in which participants reported the subjective experience of insight and trials in which they did not. These findings are consistent with the availability of partial knowledge of the solution prior to such information being accessible to subjective phenomenal awareness. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. (...) Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the (...) puzzle. While many take it that depicting movement is to make visible something that has duration, I suggest that it is to make visible something atemporal. (shrink)

Cultural Context of Multilevel Collective Social Actions: Framing, Reflection, Resonance and the Impact of Global and Local Anti-Poverty Movements In political science as well as in other social sciences much attention has been paid during recent years to the rapid growth of national and transnational activist networks and their increasing impact on domestic and world politics. Together with the proliferation of literature on the topic, concepts of collective action frames, framing processes, mobilizing ideas and meanings and their cultural resonance have (...) gained considerable currency. However, less has been written about the possibilities of and the constraints on the circulation of collective action frames or about the connection between the cultural adaptation of frames and the results of actual collective struggles. The paper explores this understudied issue both theoretically and empirically. After identifying possible links between collective action framing processes and the representational practices of particular cultures based on a review of existing theoretical approaches, the functional consequences are demonstrated by the example of the Global Call for Action against Poverty international campaign and the Czech national variant. (shrink)

The effect of concurrent movement on incidental versus intentional statistical learning was examined in two experiments. In Experiment 1, participants learned the statistical regularities embedded within familiarization stimuli implicitly, whereas in Experiment 2 they were made aware of the embedded regularities and were instructed explicitly to learn these regularities. Experiment 1 demonstrated that while the control group were able to learn the statistical regularities, the resistance-free cycling group and the exercise group did not demonstrate learning. This is in contrast (...) with the findings of Experiment 2, where all three groups demonstrated significant levels of learning. The results suggest that the movement demands, rather than the physiological stress, interfered with statistical learning. We suggest movement activates the striatum, which is not only responsible for motor control but also plays a role in incidental learning. (shrink)

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth (...) in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A. (shrink)

ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the (...) puzzle. While many take it that depicting movement is to make visible something that has duration, I suggest that it is to make visible something atemporal. (shrink)

With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out (...) of which displacements take form. Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)

People often make use of a spatial “mental time line” to represent events in time. We investigated whether the eyes follow such a mental time line during online language comprehension of sentences that refer to the past, present, and future. Participants' eye movements were measured on a blank screen while they listened to these sentences. Saccade direction revealed that the future is mapped higher up in space than the past. Moreover, fewer saccades were made when two events are simultaneously taking (...) place at the present moment compared to two events that are happening in different points in time. This is the first evidence that oculomotor correlates reflect mental looking along an abstract invisible time line during online language comprehension about time. Our results support the idea that observing eye movements is likely to “detect” invisible spatial scaffoldings which are involved in cognitively processing abstract meaning, even when the abstract meaning lacks an explicit spatial correlate. Theoretical implications of these findings are discussed. (shrink)

Given the immense mobilizing power possessed by the rhetoric of nationalism, as well as the many resources which can be tapped by groups which successfully establish national claims, it is not surprising that we have recently seen such a resurgence in nationalist discourse. One of the things which may surprise us, however, is the growing breadth in thetypesof groups which now launch such claims. No longer is the discourse of nationalism limited to use by ethnic groups and territorial populations. Recently (...) it has come to be deployed by groups which we would normally tend to look upon as social movements. There has been a growing realization of the way in which constituencies such as Blacks, gays and lesbians, Chicano/as, and so on, make up distinct peoples, with cultures, public institutions, dialects, tastes, and social practices that set them off from the people or peoples around them. (shrink)