BackgroundIn the Canadian Alliance for Healthy Hearts and Minds (CAHHM) cohort, participants underwent magnetic resonance imaging (MRI) of the brain, heart, and abdomen, that generated incidental findings (IFs). The approach to managing these unexpected results remain a complex issue. Our objectives were to describe the CAHHM policy for the management of IFs, to understand the impact of disclosing IFs to healthy research participants, and to reflect on the ethical obligations of researchers in future MRI studies.MethodsBetween 2013 and 2019, 8252 participants (...) (mean age 58 ± 9 years, 54% women) were recruited with a follow-up questionnaire administered to 909 participants (40% response rate) at 1-year. The CAHHM policy followed a restricted approach, whereby routine feedback on IFs was not provided. Only IFs of severe structural abnormalities were reported.ResultsSevere structural abnormalities occurred in 8.3% (95% confidence interval 7.7–8.9%) of participants, with the highest proportions found in the brain (4.2%) and abdomen (3.1%). The majority of participants (97%) informed of an IF reported no change in quality of life, with 3% of participants reporting that the knowledge of an IF negatively impacted their quality of life. Furthermore, 50% reported increased stress in learning about an IF, and in 95%, the discovery of an IF did not adversely impact his/her life insurance policy. Most participants (90%) would enrol in the study again and perceived the MRI scan to be beneficial, regardless of whether they were informed of IFs. While the implications of a restricted approach to IF management was perceived to be mostly positive, a degree of diagnostic misconception was present amongst participants, indicating the importance of a more thorough consent process to support participant autonomy.ConclusionThe management of IFs from research MRI scans remain a challenging issue, as participants may experience stress and a reduced quality of life when IFs are disclosed. The restricted approach to IF management in CAHHM demonstrated a fair fulfillment of the overarching ethical principles of respect for autonomy, concern for wellbeing, and justice. The approach outlined in the CAHHM policy may serve as a framework for future research studies.Clinical trial registrationhttps://clinicaltrials.gov/ct2/show/nct02220582. (shrink)

ObjectiveNoisy galvanic vestibular stimulation (nGVS) is often used to improve postural stability in disorders, such as neurorehabilitation montage. For the safe use of nGVS, we investigated whether arterial pressure (AP) and heart rate vary during static supine and slow whole-body tilt with random nGVS (0.4 mA, 0.1–640 Hz, gaussian distribution) in a healthy elderly population.MethodsThis study was conducted with a double-blind, sham-controlled, cross-over design. Seventeen healthy older adults were recruited. They were asked to maintain a static supine position on a (...) bed for 10 min, and the bed was tilted up (TU) to 70 degrees within 30 s. After maintaining this position for 3 min, the bed was passively tilted down (TD) within 30 s. Real-nGVS or sham-nGVS was applied from 4 to 15 min. The time course of mean arterial pressure (MAP) and RR interval variability (RRIV) were analyzed to estimate the autonomic nervous activity.ResultnGVS and/or time, including pre-/post-event (nGVS-start, TU, and TD), had no impact on MAP and RRIV-related parameters. Further, there was no evidence supporting the argument that nGVS induces pain, vertigo/dizziness, and uncomfortable feeling.ConclusionnGVS may not affect the AP and RRIV during static position and whole-body tilting or cause pain, vertigo/dizziness, and discomfort in the elderly. (shrink)

Heart rate variability (HRV), the change in the time intervals between adjacent heartbeats, is an emergent property of interdependent regulatory systems that operate on different time scales to adapt to challenges and achieve optimal performance. This article briefly reviews neural regulation of the heart, and its basic anatomy, the cardiac cycle, and the sinoatrial and atrioventricular pacemakers. The cardiovascular regulation center in the medulla integrates sensory information and input from higher brain centers, and afferent cardiovascular system inputs to adjust heart (...) rate and blood pressure via sympathetic and parasympathetic efferent pathways. This article reviews sympathetic and parasympathetic influences on the heart, and examines the interpretation of HRV and the association between reduced HRV, risk of disease and mortality, and the loss of regulatory capacity. This article also discusses the intrinsic cardiac nervous system and the heart-brain connection, through which afferent information can influence activity in the subcortical and frontocortical areas, and motor cortex. It also considers new perspectives on the putative underlying physiological mechanisms and properties of the ultra-low-frequency (ULF), very-low-frequency (VLF), low-frequency (LF), and high-frequency (HF) bands. Additionally, it reviews the most common time and frequency domain measurements as well as standardized data collection protocols. In its final section, this article integrates Porges' polyvagal theory, Thayer and colleagues' neurovisceral integration model, Lehrer et al.'s resonance frequency model, and the Institute of HeartMath's coherence model. The authors conclude that a coherent heart is not a metronome because its rhythms are characterized by both complexity and stability over longer time scales. Future research should expand understanding of how the heart and its intrinsic nervous system influence the brain. (shrink)

ObjectiveThe effects and possible mechanisms of cerebellar high-frequency repetitive transcranial magnetic stimulation on swallowing-related neural networks were studied using resting-state functional magnetic resonance imaging.MethodA total of 23 healthy volunteers were recruited, and 19 healthy volunteers were finally included for the statistical analysis. Before stimulation, the cerebellar hemisphere dominant for swallowing was determined by the single-pulse TMS. The cerebellar representation of the suprahyoid muscles of this hemisphere was selected as the target for stimulation with 10 Hz rTMS, 100% resting motor threshold, (...) and 250 pulses, with every 1 s of stimulation followed by an interval of 9 s. The motor evoked potential amplitude of the suprahyoid muscles in the bilateral cerebral cortex was measured before and after stimulation to evaluate the cortical excitability. Forty-eight hours after elution, rTMS was reapplied on the dominant cerebellar representation of the suprahyoid muscles with the same stimulation parameters. Rs-fMRI was performed before and after stimulation to observe the changes in amplitude of low-frequency fluctuation and regional homology at 0.01–0.08 Hz, 0.01–0.027 Hz, and 0.027–0.073 Hz.ResultsAfter cerebellar high-frequency rTMS, MEP recorded from swallowing-related bilateral cerebral cortex was increased. The results of rs-fMRI showed that at 0.01–0.08 Hz, ALFF was increased at the pons, right cerebellum, and medulla and decreased at the left temporal lobe, and ReHo was decreased at the left insular lobe, right temporal lobe, and corpus callosum. At 0.01–0.027 Hz, ALFF was decreased at the left temporal lobe, and ReHo was decreased at the right temporal lobe, left putamen, and left supplementary motor area.ConclusionRepetitive transcranial magnetic stimulation of the swallowing cortex in the dominant cerebellar hemisphere increased the bilateral cerebral swallowing cortex excitability and enhanced pontine, bulbar, and cerebellar spontaneous neural activity, suggesting that unilateral high-frequency stimulation of the cerebellum can excite both brainstem and cortical swallowing centers. These findings all provide favorable support for the application of cerebellar rTMS in the clinical practice. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

The ninth-century treatises Musica and Scolica Enchiriadis are the first musical writings in the West to present a theory of organum, a mode of plainchant performance that is the earliest known form of Western medieval polyphony. The fundamental principle of this theory is that the intervallic relationship between the simultaneous melodic lines be one of "consonance" . Nevertheless, intervals arise between the voice-parts that are not symphoniae; the theory responds to this, not by explicitly invoking the concept of dissonance, but (...) by excluding these non-symphonic or non-consonant intervals from the concept of "organum." Through close analysis of the relevant texts, the dissertation seeks to explicate this concept of organum as symphonia in terms of a "metaphysics of consonance" that the Enchiriadis theorists took over from the most influential of the musical writings of late Antiquity, the De institutione musica of Boethius. ;The metaphysics of consonance projected therein is a particular development of the Pythagorean-Platonic conception of music, in which the symphoniae, because of their simple numerical ratios, represent the universal, divinely ordained rational principles of cosmic order and harmony. After a section devoted to showing that such "speculative" ideas about music formed the basis of the "practical" theory of the Enchiriadis treatises, the dissertation goes on in Part II to find that the relationship between consonance and dissonance in the Boethius Musica is structured as an unequal, hierarchized opposition, in which consonance holds the dominant position in particular because of its virtual identification with the metaphysical ideal of unity. Conversely dissonance, the opposed term of the hierarchy, represents the negative values of duality and difference, and hence discord, conflict, and disorder. Consequently, through various textual strategies, consonance is identified with "music" itself, while dissonance is effectively excluded from that domain. ;The concept of organum in the Enchiriadis treatises is found to be determined by this same metaphysics of consonance, with its consequent tendency to exclude or marginalize dissonance, a conceptual pattern that has resonated throughout the subsequent history of polyphonic theory and practice in the West. (shrink)

When we are fatigued, we feel that our performance is worse than when we are fresh. Yet, for over 100 years, researchers have been unable to identify an objective, behavioral measure that covaries with the subjective experience of fatigue. Previous work suggests that the metrics of signal detection theory —response bias and perceptual certainty —may change as a function of fatigue, but no work has yet been done to examine whether these metrics covary with fatigue. Here, we investigated cognitive fatigue (...) using SDT. We induced fatigue through repetitive performance of the n-back working memory task, while functional magnetic resonance imaging data was acquired. We also assessed cognitive fatigue at intervals throughout. This enabled us to assess not only whether criterion and d’ covary with cognitive fatigue but also whether similar patterns of brain activation underlie cognitive fatigue and SDT measures. Our results show that both criterion and d’ were correlated with changes in cognitive fatigue: as fatigue increased, subjects became more conservative in their response bias and their perceptual certainty declined. Furthermore, activation in the striatum of the basal ganglia was also related to cognitive fatigue, criterion, and d’. These results suggest that SDT measures represent an objective measure of cognitive fatigue. Additionally, the overlap and difference in the fMRI results between cognitive fatigue and SDT measures indicate that these measures are related while also separate. In sum, we show the relevance of SDT measures in the understanding of fatigue, thus providing researchers with a new set of tools with which to better understand the nature and consequences of cognitive fatigue. (shrink)

The large swinging bell Gloriosa, cast in 1497 for Erfurt Cathedral by Gherardus de Wou, ranks as an outstanding masterpiece of Gothic bell-founding art. Its musical quality and formal aesthetics became an object of emulation for generations of succeeeding bell founders and there have been repeated attempts to discover the hidden deisgn of the bell's profile. An early drawing is based on measurements made in 1865 by Sorge and consistent or modified reproductions of it were subsequently published by several authors. (...) Since 1985, a new admeasure of the bell's profile has been available. From these data a shape-fitting reconstruction was obtained by means of computer aided design (CAD) but following the traditional principles of bell design. With the aid of the finite element method (FEM) the frequencies of the partials of a bell can be calculated from its material and its profile. They make up the inner harmony as an important part of euphony, namely the purity of sound. Calculated values for the most important partials are given in terms of deviation from ideal harmonic intervals and are compared with acoustically ascertained values and modern standards. A further part of euphony, i.e. reverberation and sonority, is related to the bell metal, makingGloriosa highly resonant. As a piece of luck with a singular coincidence of perfect profile and excellent material.Gloriosa will remain the undefeatable prototype of western bells. (shrink)

Many neuroanatomical alterations have been detected in patients with tinnitus in previous studies. However, little is known about the morphological and structural covariance network changes before and after long-term sound therapy. This study aimed to explore alterations in brain anatomical and SCN changes in patients with idiopathic tinnitus using voxel-based morphometry analysis 24 weeks before and after sound therapy. Thirty-three tinnitus patients underwent magnetic resonance imaging scans at baseline and after 24 weeks of sound therapy. Twenty-six age- and sex-matched healthy (...) control individuals also underwent two scans over a 24-week interval; 3.0T MRI and high-resolution 3D structural images were acquired with a 3D-BRAVO pulse sequence. Structural image data preprocessing was performed using the VBM8 toolbox. The Tinnitus Handicap Inventory score was assessed for the severity of tinnitus before and after treatment. Two-way mixed model analysis of variance and post hoc analyses were performed to determine differences between the two groups and between the two scans. Student-Newman-Keuls tests were used in the post hoc analysis. Interaction effects between the two groups and the two scans demonstrated significantly different gray matter volume in the right parahippocampus gyrus, right caudate, left superior temporal gyrus, left cuneus gyrus, and right calcarine gyrus; we found significantly decreased GM volume in the above five brain regions among the tinnitus patients before sound therapy compared to that in the HC group. The 24-week sound therapy group demonstrated significantly greater brain volume compared with the baseline group among these brain regions. We did not find significant differences in brain regions between the 24-week sound therapy and HC groups. The SCN results showed that the left superior temporal gyrus and left rolandic operculum were significantly different in nodal efficiency, nodal degree centrality, and nodal betweenness centrality after FDR correction. This study characterized the effect of sound therapy on brain GM volume, especially in the left superior temporal lobe. Notably, sound therapy had a normalizing effect on tinnitus patients. (shrink)

We take our bearings from Francesco Negri — Although many persons attribute the origin of letter writing to various causes, I however believe that one to be closer to the truth that we have received, handed down by memory, from the ancient stories of Turpilius: namely, that the letter was invented for no other purpose than that we should make absent friends once more present [absentes amicos presentes redderemus] and that by regarding [intuentes] their letters we mightfor a time restore (...) the friendship interrupted by intervals of time and space; for since friendship is accustomed to making its foundation in daily companionship,when this thing is missing it seems indeed to weaken not a little.and hear in this passage the resonance of Aristotle:Is it then the same way with friends as with lovers, for whom seeing [to horon] the beloved is their greatest contentment, and the thing they choose over the other senses, since it is especially through seeing that love is present and comes to be present, so that for friends, too, living together [suzèn] is the most choiceworthy thing? For friendship is a sharing in common [koinònia]. (EN 1171b29–33)The audible connection with Aristotle is faint. Negri’s work is securely placed against the background of the increasing formalization of the art of letter writing in the Middle Ages and its Renaissance development, in which he figured prominently. The genealogy that he proposes, whose forebear is an all but forgotten Roman playwright, belongs to an account of literary tradition in which Cicero is the exemplary figure. Nonetheless, it is in St. Jerome that he finds the likely source of his attribution. (shrink)

The article analyzes an issue in Jane Bennett’s vital materialism project, namely, a spe­cific conjunction of ideas about active matter that produces various combinations of be­ings, including humans, and the possibility of this matter to articulate itself in language, including poetic forms. After a brief, but necessary discussion of some essential aspects of Bennett’s theory such as ontology based on postulates of elementary particles physics (particle collisions, resonance, isomorphism), affective ethics (partial actions based on the “positive” repetition of random impressions) (...) and ecology (“courteous” attention to representatives of other species), the author suggests to strengthen the fluctuating nature of Bennett’s project and explore its extremes: the cosmic level of theorizing where even sympathy appears as a “gravitational” force and the level of linguistic articulation where various forms of indirect utterance, the “middle voice”, are involved. Despite the fact that between these two levels one can observe a certain isomorphism of a “weak” “non-dramatism”, the author concludes that the “physicality” of solarity and sympathy viewed as cosmic manifestations are not equal in weight to their own expression in poetic lan­guage in the spirit of Whitman or Thoreau (as exemplified in many by Bennett’s books). Therefore, these two components do not remain in the state of balance, even though Ben­nett repeatedly tries to use the concept of an interval, which is responsible for the discon­tinuation of the narratives of both types. In other words, the project shifts from a study of materiality towards its non-romantic “naming” only. (shrink)

We take our bearings from Francesco Negri — Although many persons attribute the origin of letter writing to various causes, I however believe that one to be closer to the truth that we have received, handed down by memory, from the ancient stories of Turpilius: namely, that the letter was invented for no other purpose than that we should make absent friends once more present [absentes amicos presentes redderemus] and that by regarding [intuentes] their letters we mightfor a time restore (...) the friendship interrupted by intervals of time and space; for since friendship is accustomed to making its foundation in daily companionship,when this thing is missing it seems indeed to weaken not a little.and hear in this passage the resonance of Aristotle:Is it then the same way with friends as with lovers, for whom seeing [to horon] the beloved is their greatest contentment, and the thing they choose over the other senses, since it is especially through seeing that love is present and comes to be present, so that for friends, too, living together [suzèn] is the most choiceworthy thing? For friendship is a sharing in common [koinònia]. (EN 1171b29–33)The audible connection with Aristotle is faint. Negri’s work is securely placed against the background of the increasing formalization of the art of letter writing in the Middle Ages and its Renaissance development, in which he figured prominently. The genealogy that he proposes, whose forebear is an all but forgotten Roman playwright, belongs to an account of literary tradition in which Cicero is the exemplary figure. Nonetheless, it is in St. Jerome that he finds the likely source of his attribution. (shrink)

We take our bearings from Francesco Negri — Although many persons attribute the origin of letter writing to various causes, I however believe that one to be closer to the truth that we have received, handed down by memory, from the ancient stories of Turpilius: namely, that the letter was invented for no other purpose than that we should make absent friends once more present [absentes amicos presentes redderemus] and that by regarding [intuentes] their letters we mightfor a time restore (...) the friendship interrupted by intervals of time and space; for since friendship is accustomed to making its foundation in daily companionship,when this thing is missing it seems indeed to weaken not a little.and hear in this passage the resonance of Aristotle:Is it then the same way with friends as with lovers, for whom seeing [to horon] the beloved is their greatest contentment, and the thing they choose over the other senses, since it is especially through seeing that love is present and comes to be present, so that for friends, too, living together [suzèn] is the most choiceworthy thing? For friendship is a sharing in common [koinònia]. (EN 1171b29–33)The audible connection with Aristotle is faint. Negri’s work is securely placed against the background of the increasing formalization of the art of letter writing in the Middle Ages and its Renaissance development, in which he figured prominently. The genealogy that he proposes, whose forebear is an all but forgotten Roman playwright, belongs to an account of literary tradition in which Cicero is the exemplary figure. Nonetheless, it is in St. Jerome that he finds the likely source of his attribution. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I develop (...) the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

This paper begins with a response to Josh Gert’s challenge that ‘on a par with’ is not a sui generis fourth value relation beyond ‘better than’, ‘worse than’, and ‘equally good’. It then explores two further questions: can parity be modeled by an interval representation of value? And what should one rationally do when faced with items on a par? I argue that an interval representation of value is incompatible with the possibility that items are on a par (...) (a mathematical proof is given in the appendix). I also suggest that there are three senses of ‘rationally permissible’ which, once distinguished, show that parity does distinctive practical work that cannot be done by the usual trichotomy of relations or by incomparability. In this way, we have an additional argument for parity from the workings of practical reason. (shrink)

This interdisciplinary exploration discusses the intricate conceptual linkages among Buddhism’s Eighth State of Consciousness, Quantum Holography, and the Jungian Collective Unconscious. Central to this study is examining the Eighth Consciousness in Buddhist thought—a realm that transcends the conventional sensory and mental states to connect with a more universal and profound awareness. Drawing parallels, Quantum Holography posits that every part of the universe retains information about the whole, much like a hologram. This notion seemingly mirrors the Jungian concept of the Collective (...) Unconscious, which postulates a shared reservoir of memories and ideas across humanity. The paper contends that the intricate dance of photons, oscillating between particle and wave states, mediates perception through resonance and hints at a multi-layered consciousness stratum that mirrors the vast, enigmatic quantum reality expanse. The study illuminates the intersections and divergences among these frameworks through meticulous comparative analysis, positing that an integrative understanding of quantum theories and Buddhist wisdom can unravel the human psyche’s profound depths. By weaving Eastern philosophies with Western psychological and quantum theoretical tapestry, the discourse unveils a multifaceted consciousness comprehension, championing integrative approaches as invaluable tools for decoding the mind and universe's enigmatic interplay from a quantum viewpoint. (shrink)

This Paper combines interval- valued neutrouphic sets and rough sets. It studies roughness in interval- valued neutrosophic sets and some of its properties. Finally we propose a Hamming distance between lower and upper approximations of interval valued neutrosophic sets.

A logic of intervals is proposed akin to the one published by Hamblin (Hamblin (1969) and (1971)). Like Hamblin's, the present system is also based on a single primitive. However, the work presented here differs from Hamblin's in a number of respects. Most importantly, the present system is explicitly based on mereological ideas in such a way that not only are the two notions of abutment and temporal order involved in Hamblin's primitive two-place relation "abuts at the earlier end" distinguished (...) ; the temporal ordering itself is built up from a symmetric mereological primitive. The present system is shown to be complete. (shrink)

One big challenge faced by cognitive science is the development of a unified theory that integrates disparate scales of analysis of cognitive phenomena. In this paper, I offer a unified framework that provides a way to integrate neural and behavioral scales of analysis of cognitive phenomena—typically addressed by neuroscience and experimental psychology, respectively. The framework is based on the concept of resonance originated in ecological psychology and aims to be the foundation for a unified theory for radical embodiment; that is, (...) a unified theory for that dissident part of cognitive science that shares a methodological commitment to dynamic systems theory and remains skeptical about the adequacy of mechanism and representationalism as the guiding ideas in the field. In the course of my presentation, I analyze different issues regarding the requirements and constraints unification poses to radical embodiment. (shrink)

In this paper, we investigate the expressiveness of the variety of propositional interval neighborhood logics , we establish their decidability on linearly ordered domains and some important subclasses, and we prove the undecidability of a number of extensions of PNL with additional modalities over interval relations. All together, we show that PNL form a quite expressive and nearly maximal decidable fragment of Halpern–Shoham’s interval logic HS.

East Asian imagery resonates throughout Martin Heidegger's writings. In this exploration of the connections between Daoism and his thought, an international team of scholars consider why the Daodejing and Zhuangzi were texts he returned to repeatedly and the extent Heidegger adhered to Daoism's core doctrines. They discuss how Daoist thought provided him with a new perspective, equipping him with images, concepts, and meanings that enabled him to continue his questioning of the nature of being. Exploring the environment, language, death, temporality, (...) aesthetics, and race from the groundlessness of non-being, oneness, and the Way, they illustrate how these themes reverberate with ontological, spiritual, and epistemological potential. A lesson in the art of Daoist and cross-cultural ways of thinking, this collection marks the first sustained analysis of the influence of classical Daoism on a major 20th-century German philosopher. (shrink)

Carter (Noûs 55(1):171–198, 2021) argued that while most simple positive numerical sentences are literally false, they can communicate true contents because relevance has a weakening effect on their literal contents. This paper presents a challenge for his account by considering entailments between the imprecise contents of numerical sentences and the imprecise contents of comparatives. I argue that while Carter's weakening mechanism can generate the imprecise contents of plain comparatives such as `A is taller than B', it cannot generate the imprecise (...) contents of comparatives that quantify the difference between their arguments, such as `A is exactly n times as tall as B'. I then propose an alternative theory on which intervals serve as both thick degrees on a scale and denotations of numerical expressions. I argue that the alternative theory can account for the imprecise contents of both forms of comparatives as well as the data that motivate Carter's theory. (shrink)

Data envelopment analysis is a popular mathematical tool for analyzing the relative efficiency of homogenous decision-making units. However, the existing DEA models cannot tackle the newly confronted applications with imprecise and negative data as well as undesirable outputs simultaneously. Thus, we introduce undesirable outputs into modified slack-based measure model and propose an interval-modified slack-based measure model, which extends the application of interval DEA in fields that concern with less undesirable outputs. The novelties of the model are that it (...) considers the undesirable outputs while dealing with imprecise and negative data, and it is slack-based. Furthermore, the model with undesirable outputs is proven translation-invariant and unit-invariant. Moreover, a numerical example is provided to illustrate the changes of the lower and upper bounds of the efficiency score after considering the undesirable outputs. The empirical results show that, without considering undesirable outputs, most of the lower bounds of the efficiency scores will be overestimated when the DMUs are weakly efficient and inefficient. The upper bound will also change after considering undesirable outputs when the DMU is inefficient. Finally, an improved degree of preference approach is introduced to rank the DMUs. (shrink)

Of S. S. Stevens's well-known classification of nominal, ordinal, interval and ratio ‘scales of measurement’, perhaps its least-known aspect is its most distinctive, namely the distinction between interval and ratio scales. This article investigates the circumstances of the typology's origins among the experimental psychologists at Harvard in the 1930s and the unique fusion of personal, technical and intellectual forces this setting represented. It shows how it came to be that an influential psychologist reconceptualized measurement from first principles in (...) such a way as to both preserve the distinction between psychology and physics in this regard and yet implicitly classify his own work as the latter. The article concludes with the general suggestion that, if it is necessary to measure something, it might as well be something tangible enough to be measured usefully. (shrink)

Luce and Narens (Journal of Mathematical Psychology, 29:1–72, 1985) showed that rank-dependent utility (RDU) is the most general interval scale utility model for binary lotteries. It can be easily established that this result cannot be generalized to lotteries with more than two outcomes. This article suggests several additional conditions to ensure RDU as the only utility model with the desired property of interval scalability in the general case. The related axiomatizations of some special cases of RDU of independent (...) interest (the quantile utility, expected utility, and Yaari’s dual expected utility) are also given. (shrink)

Critical studies in higher education often embrace the ideas of the slowness movement to address time pressure. However, this desirable horizon presents some limitations. On the one hand, by emphasizing solutions at the individual level, boosting slowness may promote tactics incapable of producing changes to the underlying structural dynamics of time pressure. On the other hand, approaches based on slowness may also inadvertently foster a form of ethical paternalism within the context of ethical pluralism by prescribing substantive models of practice (...) ultimately based on ‘do this quickly or do it slowly.’ This theoretical research moves away from the temporal paradigm to that of the way of relating. Building upon the ethical concept of resonance, the approach focuses on a formal critique of the current socioeconomic and ethical dynamics of social acceleration, growth, and innovation that can contribute to projecting non-alienated relationships in higher education. (shrink)

Shaun Gallagher and Dan Zahavi have recently argued against a simulationist interpretation of neural resonance. Recognizing intentions and emotions in the facial expressions and gestures of others may be subserved by e.g. mirror neuron activity, but this does not mean that we first experience an intention or emotion and then project it onto the other. Mirror neurons subserve social cognition, according to Gallagher and Zahavi, by being integral parts of processes of enactive social perception. I argue that the notion of (...) enactive social perception does not yet explain why social perception is subserved by mirroring. I also argue that this problem cannot be avoided by means of an appeal to multiple realization. Instead, I propose a holistic model of neural resonance-based social cognition that does give an explanatory role to mirroring by allowing for a partial experiential overlap between experiencing and recognizing emotions and intentions. This account avoids the simulationist step-wise conception of social cognition and recognizes the qualitative difference between first- and third-person emotion and intention attribution. It does capture too much of the simulationist intuitions, however, to warrant the label ‘social perception’. (shrink)

The oblivion of the interval -- Being in place -- The aporia between envelope and things -- Dualism in Bergson -- Interval, sexual difference -- Beyond man: rethinking life and matter -- Conclusion: interval as relation, interval as becoming.

Resonance can trigger of a series of quantum events and therefore induce several changes related to consciousness at micro as well as macro level within a living system. Therapeutic effects have been observed in several religious meditative and healing practices, which use resonance in the form of chanting and prayers. A living system may have many resonant frequencies due to their degrees of freedom, where each can vibrate as a harmonic oscillator supporting the progression of vibrations as waves that (...) moves as a ripple within the whole system. A cell as an organism or cells in multicellular organisms act as resonating bodies that trigger of oscillation of oscillatory proteins of the cytoskeletal network. The resulting protein conformational changes generate a conscious moment that is regulated via electron tunneling, delocalization and superposition in space time geometry. Consciousness or sentience are phenomenal characteristics of every cell and even though we don’t know the “why” we surely can predict and hypothesize the “how” of consciousness to be quantum computed, which enables the cell to understand and judge perceptions giving it a prospect to behave as per will. (shrink)

In this paper, we first defined soft intervalvalued neutrosophic rough sets(SIVN- rough sets for short) which combines interval valued neutrosophic soft set and rough sets and studied some of its basic properties. This concept is an extension of soft interval valued intuitionistic fuzzy rough sets( SIVIF- rough sets). Finally an illustartive example is given to verfy the developped algorithm and to demonstrate its practicality and effectiveness.

Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one is moved by the (...) spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images. (shrink)

IntroductionExcitability of the primary motor cortex measured with TMS has been associated with cognitive dysfunctions in patient populations. However, only a few studies have explored this relationship in healthy adults, and even fewer have considered the role of biological sex.MethodsNinety-seven healthy middle-aged adults completed a TMS protocol and a neuropsychological assessment. Resting Motor Threshold and Long-Interval Intracortical Inhibition were assessed in the left motor cortex and related to attention, episodic memory, working memory, reasoning, and global cognition composite scores to (...) evaluate the relationship between cortical excitability and cognitive functioning.ResultsIn the whole sample, there was a significant association between LICI and cognition; specifically, higher motor inhibition was related to better working memory performance. When the sample was broken down by biological sex, LICI was only associated with working memory, reasoning, and global cognition in men. No associations were found between RMT and cognitive functions.ConclusionGreater intracortical inhibition, measured by LICI, could be a possible marker of working memory in healthy middle-aged adults, and biological sex plays a critical role in this association. (shrink)

We present the interval-valued intuitionistic fuzzy ordered weighted cosine similarity measure in this paper, which combines the interval-valued intuitionistic fuzzy cosine similarity measure with the generalized ordered weighted averaging operator. The main advantage of the IVIFOWCS measure provides a parameterized family of similarity measures, and the decision maker can use the IVIFOWCS measure to consider a lot of possibilities and select the aggregation operator in accordance with his interests. We have studied some of its main properties and particular (...) cases such as the interval-valued intuitionistic fuzzy ordered weighted arithmetic cosine similarity measure and the interval-valued intuitionistic fuzzy maximum cosine similarity measure. The IVIFOWCS measure not only is a generalization of some similarity measure, but also it can deal with the correlation of different decision matrices for interval-valued intuitionistic fuzzy values. Furthermore, we present an application of IVIFOWCS measure to the group decision-making problem. Finally the existing similarity measures are compared with the IVIFOWCS measure by an illustrative example. (shrink)

In this paper we introduce the concept of interval valued neutrosophic soft topological space together with interval valued neutrosophic soft finer and interval valued neutrosophic soft coarser topology. We also define interval valued neutrosophic interior and closer of an interval valued neutrosophic soft set. Some theorems and examples are cites. Interval valued neutrosophic soft subspace topology are studied. Some examples and theorems regarding this concept are presented.

Resonance examines some building blocks of epistemology as a prelude to the careful analysis of the foundations of probability. The concept of resonance is introduced to shed light on the philosophical problems of induction, consciousness, intelligence and free will. The same concept is later applied to provide support for a new philosophical theory of probability.Although based on existing ideas and theories, the epistemological concept of resonance is investigated for the first time in this book. The best-known philosophical theories of probability, (...) frequency and subjective, are shown to be unrealistic and dissociated from the two main branches of statistics: frequency statistics and Bayesian statistics.Written in an accessible style, this book can be enjoyed by philosophers, statisticians and mathematicians, and also by anyone looking to expand their understanding of the disciplines of epistemology and probability. (shrink)

In this paper, we define a new cosine similarity between two interval valued neutrosophic sets based on Bhattacharya’s distance [19]. The notions of interval valued neutrosophic sets (IVNS, for short) will be used as vector representations in 3D-vector space. Based on the comparative analysis of the existing similarity measures for IVNS, we find that our proposed similarity measure is better and more robust. An illustrative example of the pattern recognition shows that the proposed method is simple and effective.

We propose a method to associate a coalitional interval game with each strategic game. The method is based on the lower and upper values of finite two-person zero-sum games. Associating with a strategic game a coalitional interval game we avoid having to take either a pessimistic or an optimistic approach to the problem. The paper makes two contributions to the literature: It provides a theoretical foundation for the study of coalitional interval games and it also provides, studies, (...) and characterizes a natural method of associating coalitional interval games with strategic games. (shrink)

We survey main developments, results, and open problems on interval temporal logics and duration calculi. We present various formal systems studied in the literature and discuss their distinctive features, emphasizing on expressiveness, axiomatic systems, and (un)decidability results.

Each person has a special relation to his or her own well-being. This rough thought, which can be sharpened in different ways, is supposed to substantially count against objectivist theories on which one can intrinsically benefit from, or be harmed by, factors that are independent of one’s desires, beliefs, and other attitudes. It is often claimed, contra objectivism, that one cannot be _alienated_ from one’s own interests, or that improvements in a person’s well-being must _resonate_ with that person. However, I (...) argue that every theory of well-being must allow that we can be alienated from our own well-being, and that sophisticated objectivists can accept and make use of a resonance constraint against their opponents. (shrink)

We study the reverse mathematics of interval orders. We establish the logical strength of the implications among various definitions of the notion of interval order. We also consider the strength of different versions of the characterization theorem for interval orders: a partial order is an interval order if and only if it does not contain 2 \oplus 2. We also study proper interval orders and their characterization theorem: a partial order is a proper interval (...) order if and only if it contains neither 2 \oplus 2 nor 3 \oplus 1. (shrink)