For many years, the downtown in Clarksdale, with a municipal population of 17,960 and located in the northern part of the Mississippi Delta, had lost its role as the centre providing a wide range of jobs and services to those living in the surrounding region. For many cities and towns in America, downtown decline has been associated with the flight to the suburbs and the growth in shopping malls serving flourishing gated communities. In Clarksdale’s case, downtown decline has been due (...) largely to the advent of big box retailing and the location of new retail and commercial developments along the state highway on the edge of town, combined with the loss of jobs and population associated with agricultural restructuring. Today, however, Clarksdale has taken up the challenge to ‘revitalize’ the downtown in the face of economic adversity. Recovery is under way, and much of this is associated with blues music and Delta culture: Clarksdale is situated at the fabled ‘crossroads’ of Highways 49 and 61 and is also the home to national icons in literature, art and other cultural pursuits. These are key elements around which the downtown revitalization effort is focused. This paper charts the process by which the Clarksdale community has embarked on the road to downtown recovery, and highlights the town’s indelible links with the blues, borne out of years of toil, hardship and social deprivation. The paper emphasizes the importance of ‘champions’ and ‘creative people’, drawing on community support, in achieving downtown revitalization. Positive results are becoming evident with new businesses and jobs, improved levels of service, refurbishment of derelict buildings, a renewed sense of place, and an uplift in community confidence. The significance of cultural tourism to downtown revitalization is highlighted, with particular emphasis on the global appeal of blues, but with its roots firmly established in Clarksdale and the Delta. (shrink)

Respiratory rhythms sustain biological life, governing the homeostatic exchange of oxygen and carbon dioxide. Until recently, however, the influence of breathing on the brain has largely been overlooked. Yet new evidence demonstrates that the act of breathing exerts a substantive, rhythmic influence on perception, emotion, and cognition, largely through the direct modulation of neural oscillations. Here, we synthesize these findings to motivate a new predictive coding model of respiratory brain coupling, in which breathing rhythmically modulates both local and global neural (...) gain, to optimize cognitive and affective processing. Our model further explains how respiratory rhythms interact with the topology of the functional connectome, and we highlight key implications for the computational psychiatry of disordered respiratory and interoceptive inference. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can (...) be meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

We systematically study the interrelations between all possible variations of \(\Delta ^0_1\) variants of the law of excluded middle and related principles in the context of intuitionistic arithmetic and analysis.

Some proponents of the pro-life movement argue against morning after pills, IUDs, and contraceptive pills on grounds of a concern for causing embryonic death. What has gone unnoticed, however, is that the pro-life line of argumentation can be extended to the rhythm method of contraception as well. Given certain plausible empirical assumptions, the rhythm method may well be responsible for a much higher number of embryonic deaths than some other contraceptive techniques.

Research in basic and clinical neuroscience of music conducted over the past decades has begun to uncover music’s high potential as a tool for rehabilitation. Advances in our understanding of how music engages parallel brain networks underpinning sensory and motor processes, arousal, reward, and affective regulation, have laid a sound neuroscientific foundation for the development of theory-driven music interventions that have been systematically tested in clinical settings. Of particular significance in the context of motor rehabilitation is the notion that musical (...) rhythms can entrain movement patterns in patients with movement-related disorders, serving as a continuous time reference that can help regulate movement timing and pace. To date, a significant number of clinical and experimental studies have tested the application of rhythm- and music-based interventions to improve motor functions following central nervous injury and/or degeneration. The goal of this review is to appraise the current state of knowledge on the effectiveness of music and rhythm to modulate movement spatiotemporal patterns and restore motor function. By organizing and providing a critical appraisal of a large body of research, we hope to provide a revised framework for future research on the effectiveness of rhythm- and music-based interventions to restore and train motor function. (shrink)

Rhythm and Harmony in Poetry and Music is an unchanged, high-quality reprint of the original edition of 1895. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become (...) rare and historical knowledge for the future. (shrink)

_ Source: _Volume 47, Issue 1, pp 60 - 84 This article takes up Heidegger’s commentary on Rimbaud’s _Lettres du voyant_ as the starting point for an exploration of the question of rhythm in Heidegger’s thought, and an attempt to situate it within his understanding of technics and Being. Besides pursuing a historical study of the concept of rhythm in Heidegger’s work, this article proposes to understand rhythm through the concept of individuation. It responds to the French (...) philosopher Jacques Garelli’s critique of Heidegger that the latter ignores the question of individuation and always starts with beings that are already individuated. On the contrary, this article attempts to sketch a theory of individuation of rhythm in Heidegger’s proper thinking through a re-interpretation of the _Fug_—a word he used to translate the Greek word δίκη and words derived from it: joint, structure, submission, etc. (shrink)

We construct a $\Delta^0_2$ degree which fails to be computably enumerable in any computably enumerable set strictly below $\emptyset'$.

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

One character in Cortázar's novel truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear (...) patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality. (shrink)

Slaman and Wehner have constructed structures which distinguish the computable Turing degree 0 from the noncomputable degrees, in the sense that the spectrum of each structure consists precisely of the noncomputable degrees. Downey has asked if this can be done for an ordinary type of structure such as a linear order. We show that there exists a linear order whose spectrum includes every noncomputable $\Delta^0_2$ degree, but not 0. Since our argument requires the technique of permitting below a $\Delta^0_2$ set, (...) we include a detailed explanation of the mechanics and intuition behind this type of permitting. (shrink)

Rivers stopped or flowing backward -- Harmony, number, and others --Twentieth-Century measures.

Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.

Phenomenology's relation to sensation has many facets. Sensation arises in different contexts in Edmund Husserl's work, and receives several reformulations. This causes us to inquire how the sensations that are unified within the temporal flow by time constituting consciousness, in On the Phenomenology of the Consciousness of Internal Time, and that continue to exercise an affective pull even after having passed away, in Analyses Concerning Passive Synthesis, can be related to the bodily sensations which constitute the lived body in Ideas (...) II. What is revealed in a critical study of these texts is the unthematized role that sensation plays in Husserl's writings. Yet sensation is not for that reason less significant, nor could his phenomenological descriptions of experience convincingly forgo this concept. ;What is the concept of sensation which can subtend these different formulations and provide a connecting thread within Husserl's phenomenology? My dissertation is a reply to this question. I argue that the sketches of sensation found in Husserl's works can provide the grounds for a rhythmic and dynamic theory of the lived body---a theory which not only inserts the body into the temporal flow of lived experience, and defines its spatiality as fluid, malleable and affectively charged, but which also opens the body to an intersubjective dimension. In this way, sensation becomes a differentiated and heterogeneous reality. Sensation has the structure of an evolution, the continuity of a rhythm, so that the body that is constituted of sensings secretes time at its joints. This theory frees sensation from Husserl's early hylomorphic schema in Ideas I, and reconnects it to the flow of life, and to bodily experiences of world and others. In the process I also examine alternative views which deal with the role of sensation in the contexts of the body, temporality and otherness. The works of M. Merleau-Ponty, but also of E. Levinas, L. Irigaray, H. Bergson and G. Deleuze are important in this regard. Reading these thinkers in connection to Husserl sheds an unexpected light on their philosophies, while allowing us to challenge Husserl and to propel phenomenology in new directions. (shrink)

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will (...) be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding. (shrink)

Ce texte est l'introduction de Technology's Pulse. Essays on Rhythm in German Modernism, London, Institute of Germanic & Romance Studies, 2012, ouvrage dont on trouvera la présentation ici. Nous remercions Michael Cowan de nous avoir autorisé à le reproduire sur RHUTHMOS. - 1er XXe siècle – Nouvel article.

We examine the action of unary $\Delta^0_2$ functions on the regressive isols. A manageable theory is produced and we find that such a function maps $\Lambda_R$ into $\Lambda$ if and only if it is eventually $R\uparrow$ increasing and maps $\Lambda_R$ into $\Lambda_R$ if and only if it is eventually recursive increasing. Our paper concludes with a discussion of other methods for extending functions to $\Lambda_R$.

This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or (...) be completely independent of music, though natural or internal bodily rhythms can underpin both. Finally, it asserts the existence of dance that might be naturally rhythmic, but not in a way essential to dance qua dance. (shrink)

This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization (...) and the proliferation of new media technologies to film and literary aesthetics as well as conceptualizations of human psychology, social behaviour and physiology. These are some of the historical antecedents to the contemporary understandings of rhythm within body studies to which most of the contributions to this issue are devoted. In this respect, the introduction outlines recent approaches to rhythm as vibration, a force of the virtual, and an intensive excess outside consciousness. (shrink)

In the healthy state, both circadian rhythm and mood are stable against perturbations, yet they are capable of adjusting to altered internal cues or ongoing changes in external conditions. The dual demands of stability and flexibility are met by the collective properties of complex neural networks. Disruption of this balance underlies both circadian rhythm abnormality and mood disorders. However, we do not fully understand the network properties that govern the crosstalk between the circadian system and mood regulation. This (...) puzzle reflects a challenge at the center of neurobiology, and its solution requires the successful integration of existing data across all levels of neural organization, from molecules, cells, circuits, network dynamics, to integrated mental function. This essay discusses several open questions confronting the cross‐level synthesis, and proposes that circadian regulation, and its role in mood, stands as a uniquely tractable system to study the causal mechanisms of neural adaptation.Also watch the Video Abstract.Editor's suggested further reading in BioEssays Major depressive disorder: A loss of circadian synchrony? Abstract. (shrink)

Although it provides a useful description of elementary movement trajectories, we argue that the delta-lognormal model is deficient as an account of speed/accuracy tradeoffs in aimed movements. It fails in this regard because (1) it is deterministic, (2) its formulation ignores critical task elements, and (3) it fails to account for the corrective role of submovements.

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of (...) Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

This article has already been published in, and is available in open access from Time and Society, 0, 2017, pp. 1-29. We thank Stanley Blue for his permission to republish it here.: The practice turn in social theory has renewed interest in conceptualising the temporal organisation of social life as a way of explaining contemporary patterns of living and consuming. As a result, the interest to develop analyses of time in both practice theories and practice theory-based - Sur le concept (...) de rythme. (shrink)

Mr. Shewring's recent articles on ‘Prose-rhythm and the Comparative Method’ are gratifying in that they betoken a growing interest in the problems of a comparatively modern and fascinating study, and also an appreciation of the methods followed by different investigators. His estimate, however, of De Groot's services seems to me somewhat extravagant; his estimate of Zielinski's contributions unduly belittling ; while his references to my own work cause me to doubt whether he has grasped even the main contention of (...) my book. I shall deal with all these points presently. (shrink)

This innovative study argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance.

The Enneagram opens a remarkable window into the truth about us, but simply diagnosing our number doesn't do justice to who we are. Transformation happens as we grow in awareness and learn how to apply Enneagram insights to the rhythms of our daily lives. Filled with exercises to engage, challenge, encourage, and sustain, this handbook will help us grow in greater awareness and lead us to spiritual and relational transformation.

This paper advocates the main ideas of the interactive model of representation of Mark Bickhard and the assimilation/accommodation framework of Jean Piaget, through a rhythm recognition demonstration program. Although completely unsupervised, the program progressively learns to recognize more and more complex rhythms struck on the user's keyboard. It does so without any recording of the input flow, and without any pattern matching in the usual sense. On the contrary, internal processes are dynamically constructed to follow and anticipate the user's (...) actions. We show that these processes are representations of the rhythms in the interactivist sense, and that they emerge from non representational grounds, avoiding the symbol‐grounding problem. They are not copies or transductions of reality, but ideal internal constructions of the agent, avoiding the circularity pointed out by Piaget. In practice, the active nature of this recognition process allows it to work even with noisy and complex input flows. (shrink)

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment‐by‐moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music‐theoretically (...) motivated grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic‐processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof‐of‐concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small‐scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large‐scale and ecological testing. (shrink)

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review (...) the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics. (shrink)

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds and the sound of sounding. From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening to some pieces of music.

The Malnutrition-Inflammation Score was initially proposed to evaluate malnutrition-inflammation complex syndrome in end-stage renal disease patients. Although MICS should be routinely evaluated to reduce the hospitalization and mortality rate of ESRD patients, the inconvenience of the MIS might limit its use. Cerebral complications in ESRD, possibly induced by MICS, were previously assessed by using spectral electroencephalography via the delta/theta ratio and microstate analysis. Correspondingly, EEG could be used to directly assess MICS in ESRD patients, but the relationships among MICS and (...) these EEG features remain inconclusive. Thus, we aimed to investigate the delta/theta ratio and microstates in ESRD patients with high and low risks of MICS. We also attempted to identify the correlation among the MIS, delta/theta ratio, and microstate parameters, which might clarify their relationships. To achieve these objectives, a total of forty-six ESRD subjects were willingly recruited. We collected their blood samples, MIS, and EEGs after receiving written informed consent. Sixteen women and seven men were allocated to low risk group. Additionally, high risk group contains 15 women and 8 men. Here, we discovered that delta/theta ratio and most microstate parameters were significantly different between subject groups. We also found that the delta/theta ratio was not correlated with MIS but was strongly with the average microstate duration ; hence, we suggested that the average microstate duration might serve as an alternative encephalopathy biomarker. Coincidentally, we noticed positive correlations for most parameters of microstates A and B and stronger negative correlations for all microstate C parameters. These findings unveiled a novel EEG biomarker, the MIC index, that could efficiently distinguish ESRD patients at high and low risk of MICS when utilized as a feature in a binary logistic regression model. We expected that the average microstate duration and MIC index might potentially contribute to monitor ESRD patients in the future. (shrink)

In this chapter, DeYoung looks at the concept of practices and goes on to argue why they are needed and how they can be useful. Beginning with the past traditions of practices and reflection on practices of the Desert Fathers and their followers, DeYoung takes the conversation to the classroom to discuss how such traditionally embedded practices can still be used. She emphasizes the cycle of doing practices and reflecting upon practices within the regular rhythm of the classroom.

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of (...) class='Hi'>rhythm but as primary resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions through to more fluid definitions. Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely (...) fluidity and movement. These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry. (shrink)