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In this paper, vulnerability is considered in terms of our ability to synchronise in time with others, and how the consequences of being unable to do so leads to isolation and a range of social, emotional, and psychological issues. We describe a project to develop a shared musical instrument to facilitate the process of joint interaction and the emergence of moments of synchronising in time with others. The design involves a multidisciplinary and multi-practice team that includes music therapists, artists, performance artists, musicians, music psychologists, music technologists, software and hardware sound engineers.
2017
At its full breadth a capacity for empathy is a capacity to notice, to understand, to internalise, to experience and to adequately respond to another’s feelings. Whether empathy is unique to humans is not clear (for example, Bartal, Decety, & Mason, 2011; Langford et al., 2006), but it is definitely a prominent human proficiency. Empathy plays an important part in human life from infancy. For example, in its most essential form empathy constitutes an integral part of parent–infant relations (Elicker, Englund, & Sroufe, 1992; Winnicott, 1960). Parents are constantly striving to unravel their child’s needs, wishes and moods and to provide support and consolation as well as direction. At the same time, infants are highly aware of their parents’ state of mind and feelings and continuously attempt to adjust to them. As the child develops and grows, he or she exhibits a progressively comprehensive capacity for empathy towards other children and adults (Borke, 1971; Knafo et al., 2008; Rie...
Springer Series on Touch and Haptic Systems, 2018
Humans are assumed to have a natural—universal— predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention—the E-music box—that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user's movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings 'active' and 'interactive' musical capacities within everyone's reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.
Nordic Journal of Music Therapy, 2018
Leonardo Electronic Almanac (Touch and Go) , 2012
Think about your body. Consider its capability of channeling articulate information with a single gaze, the dramatic force of a gesture propulsed by muscle tissue contractions, the sympathetic rhythmic changes in the heartbeat when listening to someone else’s palpitations, the meaningful shifting patterns of the brain wave cycles when drifting from relaxation to heightened mental activity. These are nothing but physiological and intimate processes that become externalized to affect the people and the space surrounding us. Once tangible, those processes can be captured, observed, strumentalized or augmented through technology, and become therefore informative (or shall we say informatic) media that are biological in nature. In contemporary electronic music performance this paradigm has exposed creative strategies that had been overlooked so far. This article places the biological media in the ‘broken ground’ where body and computational system interact musically with each other. It questions and defines the qualities of a gesture in the context of biologically sensitive musical instruments, providing therefore a framework to introduce a visceral model of electronic music performance; one in which the sonic matter incarnated within the tissues of the body rises and breaks through the skin to become tangible and shared experience
We examined temporal synchronization in joint music performance to determine how social status, auditory feedback, and animacy influence interpersonal coordination. A partner's coordination can be bidirectional (partners adapt to the actions of one another) or unidirectional (one partner adapts). According to the dynamical systems framework, bidirectional coordination should be the optimal (preferred) state during live performance. To test this, 24 skilled pianists each performed with a confederate while their coordination was measured by the asynchrony in their tone onsets. To promote social balance, half of the participants were told the confederate was a fellow participant – an equal social status. To promote social imbalance, the other half was told the confederate was an experimenter – an unequal social status. In all conditions, the confederate's arm and finger movements were occluded from the participant's view to allow manipulation of animacy of the confederate's performances (live or recorded). Unbeknownst to the participants, half of the confederate's performances were replaced with pre-recordings, forcing the participant into unidirectional coordination during performance. The other half of the confederate's performances were live, which permitted bidirectional coordination between performers. In a final manipulation, both performers heard the auditory feedback from one or both of the performers' parts removed at unpredictable times to disrupt their performance. Consistently larger asynchronies were observed in performances of unidirectional (recorded) than bidirectional (live) performances across all conditions. Participants who were told the confederate was an experimenter reported their synchrony as more successful than when the partner was introduced as a fellow participant. Finally, asynchronies increased as auditory feedback was removed; removal of the confederate's part hurt coordination more than removal of the participant's part in live performances. Consistent with the assumption that bidirectional coupling yields optimal coordination, an unresponsive partner requires the other member to do all the adapting for the pair to stay together.
El Universal, 2023
El mencionado reporte admite ser considerado como el estudio más completo sobre el panorama de las redes sociodigitales en el mundo. Este año, el mencionado estudio comprendió 465 pantallas. El estudio correspondiente a 2022, realizado entonces por las firmas We Are Social y Hootsuite, incluyó 300 pantallas. Población, usuarios de Internet y usuarios de redes sociodigitales La población mundial fue estimada en poco más de 8 mil millones de personas (8,010,000,000). China sigue siendo el país más poblado, con 1,425,849,000 personas; sin embargo, la población en India tiene 1,422,027,000 personas y, debido a las políticas observadas en China en materia de control de la natalidad, es muy probable que en 2024 India supere a China como el país más poblado. El total de usuarios de Internet fue establecido en 5,160,000,000 (64.4% de la población mundial). Otras fuentes ofrecen los siguientes datos:
Boletín de Estética, 2024
Reseña de: Federico Monjeau, La invención musical. Ideas de historia, forma y representación (2da ed.), Buenos Aires, Fondo de Cultura Económica, 2023, 151 pp.
Παράκληση προς τους Συντάκτες των κειμένων: Οι συνεργασίες θα διευκόλυναν κατά πολύ το έργο μας, εάν αποστέλλονταν σε ψηφιακή μορφή και, ταυτόχρονα, συνοδεύονταν από ένα αντίγραφο-φωτοτυπία. H ύπαρξη βιβλιογραφίας θεωρείται απαραίτητη για την επιστημονική τεκμηρίωση της εργασίας. Kάθε συνεργασία εκφράζει τις απόψεις του συγγραφέα. H Συντακτική Eπιτροπή δεν έχει καμιά ευθύνη για το περιεχόμενο και τη γλώσσα του κειμένου. Oι συγγραφείς είναι επίσης υπεύθυνοι για την έκδοση αδειών των αρχείων, των φωτογραφιών και σχεδίων που περιλαμβάνονται στα κείμενά τους. Η σύνταξη διατηρεί το δικαίωμα να επιφέρει φραστικές μεταβολές στα δημοσιευμένα κείμενα.
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