RHUTHMOS / Janvier 2016

Worth subscribing to RHUTHMOS!
And worth learning français!
Bien sur!
Xin Wei

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Begin forwarded message:

From: Pascal Michon <pascal.michon1@sfr.fr>
Subject: Dernières publications sur RHUTHMOS / Janvier 2016
Date: January 27, 2016 at 12:51:55 PM MST
To: 'Pascal Michon' <pascal.michon1@sfr.fr>

Dernières publications sur RHUTHMOS / Janvier 2016
Plateforme internationale et transdisciplinaire de recherche
sur les rythmes dans les sciences, les philosophies et les arts

Janvier 2016

Derniers articles parus
* F. Bisson, Ainsi marche Anna Cruz

Aux EDITIONS RHUTHMOS
En librairie
* M. Salgaro (Hrsg.), M. Vangi (Hrsg.), Mythos Rhythmus.Wissenschaft, Kunst und Literatur um 1900
*J.-L. Evard, Du sensible au sensé

Galeries
* Hommage à Daniel Buren
* Seeing in the Rain – Chris Gallagher (1981)
* Variations on a Cellophane Wrapper – David Rimmer (1972)
* Savage Messiah – Ken Russell (1972)
* La jetée – Chris Marker (1962)
* Ring-o-graphy – Alexandra Savina (2011)
* Meilleurs Vœux 2016 – Marie Paccou et al.École des Métiers du Cinéma d’Animation
* My Ship – Kurt Weill (1942)
* Les yeux noirs – Django Reinhardt (1947)
* Mélodie au crépuscule – Django Reinhardt (1947)
* Sonnet 130 (1609) – William Shakespeare – Read by Alan Rickman
* Daffodils – William Wordsworth (1804)
Actualités
* TRANSDISCIPLINAIRES – Call For Papers For the Conference : « Rhythm as Pattern and Variation : Political, Social and Artistic Inflections »
Débats



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analog rhythm jam session

Thanks to Adrian Freed for drawing attention to this analog machine + human rhythm jam session https://www.facebook.com/guanitoweb/videos/10206485558432152/ “Viviendo la nochebuena en un ricon de sevillano aquí os muestro algo nuevo la máquina de compas y os deseo una feliz navidad a todos, con armonia, sentimiento y compas”

sensorimotor observations of collective movement, Heims Ingalls experiment

Hi Todd,

Thanks.  Can we talk with Pavan, and then Steve Heims?

Yes I’d be very interested in such collective movement experiments.  But then it is urgent that we really prep our own measurement methods and team (Garrett?, ___ ? assisted by Julian).

As you know, I would want to measure correlations not (only) in the brain but across much more of the event.   
It is far more direct (scientifically rigorous) to measure as much of the global aspects of collective movement than to zero in on only one part of the body and in fact a part whose functions are extremely indirectly related to corporal kinetics, and in ways that are quite ill understood . 

That’s why I’ve asked Julian and our students to build out the rhythm kit to use all modalities of sensing intervallic rhythm.


in particular: 


and as an aside:

Can we talk with Pavan, and then with Steve?

Thanks,
Xin Wei


On Dec 4, 2015, at 12:41 PM, Todd Ingalls <TestCase@asu.edu> wrote:

could this be tied to rhythm. I think we are both skeptical of brain imaging but could still be interesting. 

todd from my phone

Begin forwarded message:

From: Stephen Helms Tillery <stillery@asu.edu>
Date: December 4, 2015 at 12:26:56 PM MST
To: Todd Ingalls <TestCase@asu.edu>
Subject: Back to music and brain

Hey Todd,

Hope you’re good.

I have been working and thinking about a couple of issues a lot lately in group neuroscience .. the two key topics are joint action and entrainment.   Joint action is just multiple actors working together to accomplish some task … like two people carrying a table together, or a couple of soccer players moving the ball down the field.   These are interesting problems because they require the actors to have some sense of what their partners are trying to accomplish and how they are going about that.   Entrainment is an entirely hypothesized process in which two brains come into “synchrony” in order to communicate .. this is thought to be important in language, but obviously is also important in music performance.

Entrainment, however, is pretty loosely defined at the moment … we have an idea for getting at entrainment using musicians.    The notion is to get an ensemble together, a good ensemble … and record simultaneous EEGs from the players as they work a piece.

To some extent this has been done before:   with saxophones (ugh!)   The focus of that paper was on EEG markers of empathy (even more ugh), and the usual expected changes in EEG associated with listening to and motor outputs for music.

What I’d like to do is do real analysis across multiple brains during performance, and see if we can see electrical signs of entrainment as they are working.   In a dream world, as the ensemble locks into “togetherness” … the brains will entrain.   Or vice versa.  

Anyway, to go after this we will need to synch up multiple EEGs, and more importantly, find a good ensemble that might be up for this.    

I thought of AME, and wondered if there would be somebody there interested in devoting a little bit of time and nominal resources to chasing this down.

In any case, have good holidays,

STeve

AME research and graduate proseminar: the problem with explaining things in terms of "'parts' of the brain"

Hardcastle and Stewart succinctly point out a fundamental problem at the heart of the methodology of neuroscience (and of cognitive science): the modularity thesis.

Neuroscience did not “discover” modules — loci of functions —  in brains.   Rather “they don’t even have a good way of accessing the appropriate evidence. It is a bias in neuroscience to localize and modularize brain functions.”

The problem with scientistic methodology is that you see what you expect to see.



There’s much more in play: Noah Brender’s work questions the modularity thesis underlying much of technoscience. 
However, another world is possible :)

Xin Wei

Synthesis rhythm: IMU's etc.

Dear Rhythm people: Garrett, Gabby, Julian,

Thanks for being on the demo team !  Now we can get back to steady state  work, like rhythmanalysis 

Can you please check out the IMU’s that we bought last year as an input for our rhythm test platform?
Ask Ozzie or perhaps one of Prof. Turaga’s students who’s used them for permission and see if you can stream them into Max.

I’d like assemble a suite of inputs:
contact mic
air mic
camera (Julian)
IMU (Pavan’s group?)
xOSC gyros (Mike —> Julian)

and record them in parallel
with some movement scenarios to get multiple streams of time data.

Please define some scenarios : e.g.  assembling blocks small to giant size, cutting and washing .  try seated and upper body and locomotive.   Varsha’s done some movement scenarios with Grisha, but in very specialzied contexts.  How about quotidian ?

Let’s try some out on Monday Nov 30?

Cheers,
Xin Wei

cc Pavan

________________________________________________________________________________________
Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Consortium for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962
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example of synthesis research: Naccarato and MacCallum, "From Representation to Relationality: Bodies, Biosensors, and Mediated Environments" JDSP 8.1 (2015)

Here’s a journal article published by a couple of researchers hosted at Synthesis last year that may be interesting to folks working on movement and responsive media, somatic experience, experimental dance and experimental technology, critical studies of technoscience, or philosophy of movement:

Teoma Naccarato, John MacCallum, “From Representation to Relationality: Bodies, Biosensors, and Mediated Environments,”  in Embodiment, Interactivity and Digital Performance, Journal of Dance and Somatic Practices, 8.1, 2015.

Teoma is starting a PhD with the Centre for Dance Research (C-DaRE), Coventry University UK
and John is a postdoc at the Centre for New Music and Audio Technologies (CNMAT) Department of Music, University of California at Berkeley. 

John and Teoma’s extended journal article is a good example of a durable outcome from the research cluster hosted by Synthesis in the Heartbeat Residency: Choreography and Composition of Internal Time.  This was a residency on temporality — sense of dynamic, change, rhythm — held February 15- 20, 2015. AME iStage, Matthews Center, ASU.




Ambient color changes according to whether dancer’s heart is faster or slower than some rate in the rhythm accompaniment software.  Synthesis Residency Jan 2015.   (The overhead tube lamps from Ziegler’s “forest2" were not used in this particular experiment.)


Improvisation with dancer Naccarato, composer / system creator MacCallum, Synthesis team and members of ASU laptop orchestra (Lorkas). Synthesis Residency Jan 2015.


________________________________________________________________________________________
Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962
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