The pandemic caused by the COVID 19 Virus creates an unprecedented situation of global confinement altering the development of competition and sports training at all levels of participation and in all sports, including rhythmic gymnastics (RG). To avoid possible effects of physical, technical and psychological detraining, coaches looked for home training alternatives. The objectives of the study were to know how rhythmic gymnastics training developed during the lockdown period (the conditions, type of training, performance monitoring means, (...) and determinants of gymnasts’ participation) and to provide recommendations for a possible future lockdown. Three hundred and two RG coaches from twenty-six different countries throughout the five continents and four professional levels took part in the study: national team (28), international (26), national (172) and regional (75). The data collection tool was a questionnaire consisting of 39 closed questions structured in three dimensions: identification data of the coaches, training data during confinement and gymnast participation data. The independent variable was the gymnasts’ performance levels and the dependent variables organized in four categories: the technical media used to conduct and monitor the training sessions, the type of training done, the mechanisms for monitoring training performance and the aspects that determined participation. Most coaches kept their gymnasts training during confinement, although 76.5% confirm abandonment of any of their gymnasts. The main means used were real-time video conferencing, although at the lower practice levels the media stand out in deferred time. The contents of the training were mainly body technique, physical preparation and body difficulties. For performance monitoring, challenges, physical, and technical tests were predominant. The determinants for the development of training in the confinement vary depending on the level of the gymnasts, connectivity and electronic resources at the highest level, and the availability of spaces and social distancing at lower levels. For future lockdowns, it is necessary to review the content of the trainings, as well as the performance evaluation and the means necessary for it. (shrink)

The present study explored the types of stressors faced by rhythmic gymnastics athletes, their parents, and coaches. Semi-structured interviews with 12 participants—four gymnasts, five coaches, and three parents—were analyzed using reflexive thematic analysis in a theory-driven framework. The categorizations of sport-related stressors for the parents, coaches, and gymnasts were based on existing theories. The results showed that both the gymnasts and the coaches predominantly noted mastery-avoidance goals in terms of performance, while the interviews with parents mostly indicated performance-avoidance (...) goals. All three groups of participants consistently reported a detrimental atmosphere in rhythmic gymnastics. For instance, they emphasized the stress related to inadequate communication between the concerned parties. Moreover, all parties believed that having a lean body was linked to success in the competitive world of rhythmic gymnastics. The present study provides insight into some of the potential major stressors and the related subjective experiences affecting athletes socializing in the same sporting environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and suspect (...) perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)

Moral development, achievement goal, and athletic identity are considered psychological constructs sharing specific cognitive, social, motivational, and behavioral traits. The purpose of the present article is to investigate the relation among moral orientations, athletic identity, and social goal orientations. In addition, the impact of age, gender, type of sport, sport division, and school performance on moral orientation has also been investigated. One hundred forty athletes of artistic gymnastics, rhythmic gymnastics, and acrobatic gymnastics (n?=?29 boys, n?=?111 girls), (...) aged 8 to 17, participated in the research. They belonged to IV, III, II, and I sport divisions. The participants filled in three questionnaires: Moral Orientation Students in Physical Education Questionnaire, Athletic Identity Measurement Scale, and Social Goal Orientation Questionnaire. The results established that moral orientation is related to the athletic identity and achievement social goal constructs, as well as the fact that they affect school performance. (shrink)

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)

Performance and control of upright bipedal posture requires a constant and dynamic integration of relative contributions of different sensory inputs (i. e., sensory reweighting) to enable effective adaptations as individuals face environmental changes and perturbations. Children with gymnastic experience showed balance performance closer to that of adults during and after proprioceptive alteration than children without gymnastic experience when their center of pressure (COP) was analyzed. However, a particular COP sway can be achieved through performing and coordinating different postural movements. The (...) aim of this study was to assess how children and adults of different gymnastic experience perform and control postural movements while they have to adjust balance during and after bilateral tendon vibration. All participants were equipped with spherical markers attached to their skin and two vibrators strapped over the Achilles tendons. Bipedal stance was performed in three 45-s trials in two visual conditions (eyes open, EO, and eyes closed, EC) ordered randomly in which vibration lasted 10 s. Posture movements were analyzed by a principal component analysis (PCA) calculated on normalized and weighted markers coordinates. The relative standard deviation of each principal movement component (principal position, PP-rSTD) quantified its contribution to the whole postural movements, i.e., quantified the coordinative structure. The first (principal velocities, PV-rSTD) and second (principal accelerations, PA-rSTD) time-derivatives characterized the rate-dependent sensory information associated with and the neuromuscular control of the postural movements, respectively. Children without gymnastic experience showed a different postural coordinative structure and different sensory-motor control characteristics. They used less ankle movements in the anterior-posterior direction but increased ankle movements in medio-lateral direction, presented larger hip and trunk velocities, and exhibited more hip actions. Gymnastic experience during childhood seemed to benefit the development of proprioceptive reweighting processes in children, leading to a more mature form of coordinating and controlling posture similarly to adults. (shrink)

This musical-philosophical study brings something unique to Gilles Deleuze's philosophy of time, interweaving music improvisation, composition, and analysis, plus reformulations of Deleuze's concepts. The author draws on his own work alongside examples from the history of music practice in improvised and experimental musics, ultimately developing a new concept: Rhythmicity.

: In this paper I want to propose, from the vantage point of an experimental artist/composer, perceptual strategies focusing on the often ephemeral and unobtrusive spatio-temporal rhythmicities that nevertheless contribute to the quality of life in a settlement. The main points of reference are R. Murray Schafer's concepts of “ hi-fi and lo-fi soundscapes”, which here become “hi-fi and lo-fi environments”, i.e. are extended to include also non-sonic phenomena, and Torsten Hägerstrand's - Pour une éthique et une politique du rythme (...) – Nouvel article. (shrink)

This article explores the rhythmic body with the example of the embodiment of the ‘bashment gal’ and the role she plays in the dancehall sound system session. It considers rhythm as an energetic patterning process operating both within and between media. Rhythm provides a means of communication and making sense that does not rely on representation or code. There are three elements to performance techniques of the rhythmic body – amplification, inflection and transduction. Amplification for the bashment gal’s (...) performance techniques involves increasing the size or effort of her dance movements, dancing in a chorus line accelerating her tempo. In what is considered as a hyper-sexualized arena of the dancehall session, it is argued that the bashment gal has to be understood in terms of African traditions where sexual pleasure and fertility are not separate. With rhythmic inflection the bashment gal gives distinctiveness to her performance, as is much prized in the style and fashion of the dancehall scene. The transduction of patterning from one medium to another, via tympanic surfaces, helps to forge the sound system session and the bashment gal as a rhythmic whole and fosters her sense of identity as a rhythmic body. (shrink)

In the Panathenaic Games, there was a torch race for teams of ephebes that started from the altars of Eros and Prometheus at Plato’s Academy and finished on the Acropolis at the altar of Athena, goddess of wisdom. It was competitive, yes, but it was also sacred, aimed at a noble goal. To win, you needed to cooperate with your teammates and keep the delicate flame alive as you ran up the hill. Likewise, Plato’s philosophy combines competition and cooperation in (...) pursuit of the goal of wisdom. On one level, agonism in Plato is explicit: he taught in a gymnasium and featured gymnastic training in his educational theory. On another level, it is mimetic: Socratic dialogue resembles intellectual wrestling. On a third level, it is metaphorical: the athlete’s struggle illustrates the struggle to be morally good. And at its highest level, it is divine: the human soul is a chariot that races toward heaven. This volume explores agonism in Plato on all of these levels, inviting the reader—as Plato does—to engage in the megas agōn of life. Once in the contest, as Plato’s Socrates says, we’re allowed no excuses. (shrink)

In Taking Care of Youth and the Generations, Bernard Stiegler develops an account of the pedagogical responsibilities which follow from rhythmic intergenerational flows, involving the creation of milieus which care for and pay attention to the future, toward the creation of nootechnical milieus. Such milieus are defined by their objects of attention: intellectual life, spiritual life, and political life; taken together: noetic life. Such is the claim Alfred North Whitehead makes when arguing that the sole object of education is (...) life and the creation of an art of life which is itself a rhythmic adventure.The purpose of this paper is three-fold. First, to clarify the importance of Stiegler’s reading of Aristotle’s notion of the noetic soul in our thinking about the role, purpose, and function of educational institutions in relation to intellective, spiritual, and political life. In this paper, I will fuse this discussion with a Whiteheadian approach to rhythm, developing what I call a ‘rhythmic nootechnics’ in the service of ‘nootechnical evolution’ as, I argue, Whitehead’s approach to rhythm allows to clarify and enrich Stiegler’s reading of Aristotle. Second, and as indicated, to explore the relationship between Whitehead and Stiegler, insofar as the former has become an increasing reference point for the latter, but this relationship remains unexplored in the literature. Third, to apply this concept of ‘rhythmic nootechnics’ to think about what transformations at the level of pedagogy and politics are necessary to reinvent the university from this Stieglerian and Whiteheadian perspective. (shrink)

Fundamental movement skill proficiency does not develop solely due to maturation, but also via diverse perceptual-motor experiences across childhood. Practicing gymnastics has been shown to improve postural control. The purpose of the present study was to examine potential changes to postural control of children following a course of educational gymnastics. Two groups of children both completed 20 × 45-min physical education lessons; one group completed educational gymnastics lessons in school delivered by a professional coach, the other group (...) completed their typical PE classes. Unipedal balancing performance was assessed by calculating the percentage of successful trials made. Postural sway dynamics were explored by calculating center-of-pressure sample entropy, 95% ellipse sway area and sway velocity. Measurements were taken before the lessons began and immediately after the lessons were completed. The gymnastics group performed better than the typical PE group at unipedal balancing. Females outperformed males in both groups. Males made different changes to postural control compared to females across 3 months. Educational gymnastics enabled children in a critical period of development to make more rapid improvements to postural performance and control. Novel movement experiences, like those offered by educational gymnastics, may have a positive influence on postural control and importantly, physical literacy. Future work should examine how sex effects the development of postural control strategies in young children. (shrink)

Under communism, the symbolic potential of the body was multiplied in the mass gymnastic displays in order to portray the society as disciplined, strong, happy and beautiful and thus to legitimize its leadership. These gymnastic rituals followed the volkisch tradition of 19th-century mass gymnastics, which aimed at mobilization and homogenization of the `imagined community' of the nation. Behind the symbolic play of the mass gymnastics, there was, as Kracauer pointed out, a deeper relationship between modernity with its mode (...) of production and gymnastics with its mechanization of the body. The relation, however, was not a direct one, mass gymnastic displays were used to aestheticize the mass production and therefore to deny the very logic of instrumental rationality that both the gymnastics and the production were built upon. (shrink)

This text has already been published in P. Vostal, Inquiring into Academic Timescapes, Bingley, Emerald Publishing Limited, 2021, pp. 59-72. We thank Gonzalo Iparraguirre for the permission to republish it here. The aim of this chapter is to explore how temporalities produced by academia defines the way we learn and interpret social life, politics, and development. Academia imposes these temporalities by teaching and managing intrinsic temporal notions of social dynamics, as the - Sociologie – Nouvel article.

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; (...) quality; and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches. These clinical case examples are introduced here and several more are included in the Supplementary Material. A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach. (shrink)

While recent studies have shed some light on the significance of the electrical activity of the nervous system, there has been no adequate explanation for the wave formation or synchronization of this electrical activity. Adrian sums up the problem. “The origin of the 10-a-second rhythm is still uncertain, though the evidence points to some widespread organization, probably involving the central masses as well as the cortex. There are abundant nervous connexions for coordinating the beat, and when the rhythm is well (...) developed it is possible to record impulse discharges in phase with it passing to and fro in the nerve fibers of the white matter below the cortex. But in some areas no impulse could be detected entering or leaving the cell layers, though the potential waves keep more or less in step with those elsewhere. There is no proof that the waves are kept in phase by some means which does not involve nervous signalling, for impulses in axons of small diameter might well be missed, but it is not altogether unlikely that the synchronization is due in part to a direct electrical influence of one group of nerve cells on another. Gerard and Libet have shown that synchronization can occur between the two halves of a frog's brain cut in two and then placed in contact, and more recently Arvanitaki has shown that individual nerve cells may influence one another if they are brought close together in a conducting medium. At all events there are many examples of synchronized rhythmic activity in large collections of nerve-or-muscle cells. In the optic ganglion of the water beetle, for instance, there may be both a slow rhythm when the eye is in darkness and a rapid one when the eye is exposed to a bright light. The change from a slow to a fast rhythm is curiously reminiscent of that in the cerebral cortex when a sensory stimulus abolishes the 10-a-second rhythm and substitutes one at 40–60 a second. Such resemblances in preparations of quite different structures may be quite fortuitous, but they make it difficult to resist the suggestion that the rhythms of the brain may be dependent on the general properties of cell masses rather than on any special anatomical arrangement of them. Whatever its origin, the 10-a-second rhythm of the cortex corresponds to the resting, drowsy, or inattentive state and there is no such uniform pulsation when the brain is alert.”. (shrink)

This review locates the 1980 lectures within the context of the wider discussions of Foucault and religion; highlighting the influence of George Dumézil on the comparative and structural analysis. Assessing the problem of the historical accuracy of Christian history in Foucault’s work and the nature of the archaeological approach, the review explores what would be fair to ask of Foucault’s 1980 lectures on Christianity. The review focuses on the internal consistency, selections and theoretical tensions. While acknowledging that Foucault picks up (...) the important shift towards external ritual performance of early Christian life, the review questions Foucault’s lack of appreciation of the notion of “sacramentum,” which informs the central interpretative framework of “truth acts.” The review suggests that Foucault’s thinking is shaped by an “expressionist theology” and operates on a false binary distinction between faith and practice. It shows the problematic reading of Tertullian and the indivisibility between acts and faith in his work and reveals the counter-conduct and freedom practices in Tertullian’s later Montanist commitment—which rejected church authority for inner commitment to God—and also suggests a gendered dimension to expressionist acts. The review reveals Foucault’s own inability to split the faith-practice dichotomy—on which his expressionistic argument depends—and highlights the tensions that persist in maintaining a “truth-act” model from early Christian life. It concludes by suggesting that the philosophy-theology relation in Foucault opens more questions than it resolves. (shrink)

Empathy is often split into an affective facet for embodied simulation or sometimes sensorial processing, and a cognitive facet for mentalizing and perspective-taking. However, a recent neurophenomenological framework proposes a graded view on empathy (i.e., “Graded Empathy”) that extends this dichotomy and considers multiple levels while integrating complex neural patterns and representations of subjective experience. In the current magnetoencephalography study, we conducted a multidimensional investigation of neural oscillatory modulations and their cortical sources in 44 subjects while observing stimuli that convey (...) vicarious pain (vs no-pain) in a broad time window and frequency range to explore rich neural representations of pain empathy. Furthermore, we collected participants’ subjective-experience of sensitivity to vicarious pain, as well as their self-reported trait levels of affective and cognitive empathy to examine the possible associations between neural mechanisms and subjective experiences and reports. While extending previous electrophysiological studies that mainly focused on alpha suppression, we found here four significant power modulation patterns corresponding to multiple facets of empathy: an early central (peaking in the paracentral sulcus) alpha (6–11 Hz) suppression pattern plausibly reflecting sensory processing, two early beta (15–23 Hz) suppression patterns in the mid-cingulate cortex (plausibly reflecting the affective component) and in the precuneus (plausibly reflecting the cognitive component), and a late anterior (peaking in the orbitofrontal cortex) alpha-beta (11–19 Hz) enhancement pattern (plausibly reflecting cognitive-control inhibitory response). Interestingly, the latter measure was negatively correlated with the subjective sensitivity to vicarious pain, thereby possibly revealing a novel inhibitory neural mechanism determining the subjective sensitivity to vicarious pain. Altogether, these multilevel findings cannot be accommodated by the dichotomous model of empathy (i.e., affective-cognitive), and provide empirical support to theGraded Empathyneurophenomenological framework. Furthermore, this work emphasizes the importance of examining multiple neural rhythms, their cortical generators, and reports of subjective-experience in the aim of elucidating the complex nature of empathy. (shrink)

This article aims at making Heidegger’s understanding of history fruitful for a consideration of history that both takes into account the complexity and multitude of historical lineages and also pays attention to smaller historical events. After revisiting Heidegger’s understanding of history in terms of a history of being and our being-historical, the author brings into play the notion of rhythm. She thinks of rhythms of history in terms of durations of historical configurations of things and events in relation to their (...) beginnings and endings (their rhythmic caesura), and in relation to other historical confi gurations. This leads to an understanding of history in terms of being-historical that does not simply indicate things happening in time, but instead focuses on the happening that determines how things appear and are deployed. (shrink)

The network model of EEG formation has revealed a unified mechanism for disparate EEG phenomena: for various reactions as well as for ontogenetic and phylogenetic differences. EEG rhythmicity was shown to be an external manifestation of the functioning of the intracortical stabilizing system which provides normal informational operations in the cerebral cortex.

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement (...) of musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

The implicit motivational needs for power, achievement, and affiliation are highly relevant in the context of sports. Sport enables people to experience achievement incentives like mastering challenges as well as social incentives such as recognition by teammates. Further, McClelland’s (1986) hypothesized that implicit motives are particularly associated right-hemisphere functions. Therefore, this preregistered study, conducted online, examines motivational needs using a standard picture-story exercise (PSE) and their associations with indicators of laterality, sports participation, and competition in gymnasts (N = 67). Further (...) it explores how implicit motives interact with suitable motivational incentives in the prediction of sports performance. Results partly confirm a link between indictors of cerebral rightward laterality and implicit motives, showing that the implicit affiliation and achievement motives are positively associated with an indicator of emotional-perceptional laterality (chimeric-faces task), but not with an indicator of motor laterality (turning bias). Moreover, the implicit achievement motive was positively correlated with training hours. The implicit affiliation motive was negatively associated with competition level. The presence of achievement incentives (perceived control, failure) and affiliation incentives (training together or alone) did not interact with corresponding motives to predict sports performance. (shrink)

Rhythmic entrainment is the formation of regular, predictable patterns in time and/or space through interactions within or between systems that manifest potential symmetries. We contend that this process is a major source of symmetries in specific systems, whether passive physical systems or active adaptive and/or voluntary/intentional systems, except that active systems have more control over accepting or avoiding rhythmic entrainment. The result of rhythmic entrainment is a simplification of the entrained system, in the sense that the information (...) required to describe it is reduced. Entrainment can be communicated, passing information from one system to another. The paradigm is a group of jazz percussionists agreeing on a complex musical progression. The process of rhythmic entrainment is complementary to that of symmetry breaking, which produces information. The two processes account for much, if not all, of the complexity and organization in the universe. Rhythmic entrainment can be more or less spontaneous, with the completely spontaneous form being uncontrollable. A balance between the two forms can produce a more robust system, requiring less energy to maintain, whether in physical, biological or social systems. We outline some applications in physics, chemistry, biology, measurement and communication, ending with the especially interesting case of social and economic order. First though, we must introduce some basic principles. (shrink)

It is not mere coincidence that several of Plato’s dialogues are set in gymnasia and palaistrai (wrestling schools), employ the gymnastic language of stripping, wrestling, tripping, even helping opponents to their feet, and imitate in argumentative form the athletic contests (agōnes) commonly associated with that place. The main explanation for this is, of course, historical. Sophists, orators, and intellectuals of all stripes, including the historical Socrates, really did frequent Athens’ gymnasia and palaistrai in search of ready audiences and potential students. (...) Perhaps they were following the example of Pythagoras, who may have been a boxing coach (gymnastēs) and was, in any case, associated with the extraordinary Olympic success of athletes from his adopted Croton—success so great it generated the saying that the last of the Crotonites was the first among all other Greeks. After his visit to Western Greece, Plato famously established his school in or adjacent to the Academy gymnasium in Athens, and he may have held the public office of Gymnasiarch there. In this essay, I would like to argue that there are also symbolic reasons for Plato setting some of his dialogues in gymnasia. These dialogues function as virtual gymnasia in which readers are coached by the character of Socrates toward an innovative ideal of aretē (virtue, excellence). (shrink)

Roholt explains why grooves, which are forged in music’s rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music’s pulsations. By invoking the French philosopher Maurice Merleau-Ponty’s notion of “motor intentionality,” Roholt shows that the “feel” of a groove, and the understanding of it, are two sides of a coin: (...) to “get” a groove just is to comprehend it bodily and to feel that embodied comprehension. (shrink)

This article attempts a critical interpretation of Klee’s basic thoughts on the source and essence of art, based primarily on his diary entries and his lectures at the Bauhaus. The starting point of the interpretation is Klee’s fundamentally dynamic assumption of the primacy of becoming and movement vis-à-vis static being. Each work of art, for Klee, is essentially movement, although as organized and structured by rhythm. The source of the rhythmic movement he recognizes as chaos, which he defines as (...) the most elemental fact, which precedes the difference of being and becoming, of rest and movement, and with which the artist in each of its creative acts must first identify. The elemental presence of chaos is the point, not an abstract and dead mathematical one, but one that is alive and moving, to which the force, tension, and impulse for movement essentially belongs. Every work of authentic art is the representation of the primal opposition of chaos and order, symbolized at first by the opposites of point and line. In the further development of this opposition, the multiple dimensions of contrast between straight and curved, vertical and horizontal, light and darkness as well as the various colors in their practically endless gradations coalesce within the work of art into a tension-wrought yet harmonically balanced arrangement. (shrink)

Lewis emphasizes the role of theta oscillations in emergent coupling among neural subsystems during emotionally relevant tasks or situations. Here I present some recent data on the relationship of rhythmic neuronal discharge in the supramammillary nucleus and the large-scale theta oscillations in the limbic system which provide support to many of his ideas regarding vertical integration in dynamic systems.

In two recent studies we have examined the prose rhythms in the clausulae of late imperial Latin authors. We found two clausular systems to be prevalent, the cursus and the cursus mixtus. The cursus involves the use of accentual rhythms and consists of three basic cadences: planus, tardus, and velox. The cursus mixtus has been defined by modern scholars as a type of prose rhythm in which the clausula is structured along both accentual and metrical lines, that is by the (...) combination of one of the three forms of the cursus with one of the standard metrical forms derived from Cicero's system — cretic-spondee, dicretic, cretic-tribrach, or ditrochee. (shrink)

If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system (...) of rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first centurya.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuriesa.d.for over fifty years. The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence. (shrink)

The circadian clock is a cell autonomous oscillator that controls many aspects of physiology through generating rhythmic gene expression in a time of day dependent manner. In addition, in endothermic mammals body temperature cycles contribute to rhythmic gene expression. These body temperature‐controlled rhythms are hard to distinguish from classic circadian rhythms if analyzed in vivo in endothermic organisms. However, they do not fulfill all criteria of being circadian if analyzed in cell culture or in conditions where body temperature (...) of an endothermic organism can be manipulated. Here we review and compare these characteristics, discuss the core clock independent mechanism of temperature‐controlled alternative splicing and highlight the requirement of double‐checking rhythms that appear circadian within an endothermic organism in a system that allows temperature manipulation. (shrink)

Aphasia is a complex disorder, frequent after stroke (with an incidence of 38%), with a detailed pathophysiological characterization. Effective approaches are crucial for devising an efficient rehabilitative strategy, in order to address the everyday life and professional disability. Several rehabilitative procedures are based on psycholinguistic, cognitive, psychosocial or pragmatic approaches, including amongst those with a neurobehavioral approach the Melodic Intonation Therapy (MIT). Van Eeckhout’s adaptation of MIT to French language (Melodic-Rhythmic Therapy: MRT) has implemented the training strategy by adding (...) a rhythmic structure reproducing French prosody. The purpose of this study was to adapt MRT rehabilitation procedures to Italian language and to verify its efficacy in a group of six chronic patients (five males) with severe non-fluent aphasia and without specific aphasic treatments during the previous 9 months. The patients were treated 4 days a week for 16 weeks, with sessions of 30–40 min. They were assessed 6 months after the end of the treatment (follow-up). The patients showed a significant improvement at the Aachener Aphasie Test (AAT) in different fields of spontaneous speech, with superimposable results at the follow-up. Albeit preliminary, these findings support the use of MRT in the rehabilitation after stroke. Specifically, MRT seems to benefit from its stronger structure than the available stimulation-facilitation procedures and allows a better quantification of the rehabilitation efficacy. (shrink)

This review has already been published in Theory, Culture and Society, June 17, 2015. We gratefully thank Paola Crespi for the permission to reproduce it. Eleni IKONIADOU, The Rhythmic Event. Art, Media, and the Sonic, Cambridge, MIT Press, 2014, 117 pages. A much-needed contribution to the field of media philosophy, sound and digital studies, this book is petit and extremely dense. Part of Brian Massumi and Erin Manning's Technologies of Livedion series with MIT Press, - Recensions.