Definitions of syncopation share two characteristics: the presence of a meter or analogous hierarchical rhythmic structure and a displacement or contradiction of that structure. These attributes are translated in terms of a Bayesian theory of syncopation, where the syncopation of a rhythm is inferred based on a hierarchical structure that is, in turn, learned from the ongoing musical stimulus. Several experiments tested its simplest possible implementation, with equally weighted priors associated with different meters and independence of auditory events, which can (...) be decomposed into two terms representing note density and deviation from a metric hierarchy. A computational simulation demonstrated that extant measures of syncopation fall into two distinct factors analogous to the terms in the simple Bayesian model. Next, a series of behavioral experiments found that perceived syncopation is significantly related to both terms, offering support for the general Bayesian construction of syncopation. However, we also found that the prior expectations associated with different metric structures are not equal across meters and that there is an interaction between density and hierarchical deviation, implying that auditory events are not independent from each other. Together, these findings provide evidence that syncopation is a manifestation of a form of temporal expectation that can be directly represented in Bayesian terms and offer a complementary, feature‐driven approach to recent Bayesian models of temporal prediction. (shrink)

A comparison of Western and Indian philosophies using syncope, to describe the escape from self and the rapture of uncertainty in human endeavour.

Le discours philosophique s’articule sur une syncope ou par une syncope. Il est « tenu » par un indécidable moment de syncope. Ce moment, ce mode de production, ce régime d’inscription sont ceux de Kant ; ce qui veut dire : sont ceux de « Kant » aujourd’hui encore. La fonction kantienne dans la philosophie est celle qui en exhibe la syncope, malgré tout, malgré toute la volonté du discours. Il n’y a aucun intérêt à faire (...) de la philosophie, si ce n’est pas pour tenter d’accompagner à sa limite cet épuisement du discours. Car c’est sur cette limite seulement qu’on peut risquer la chance de la philosophie : qui n’est pas celle d’un « intérêt », mais d’une injonction, d’une prescription, de cet étrange tu dois discourir dont se nourrit et s’épuise l’histoire entière d’une civilisation. Ce tu dois prend chez Kant la forme de la nécessité, pourtant irrésolue, du schématisme, qui fait la condition de la production du sens. (shrink)

Why is it that the modern conception of literature begins with one of the worst writers of the philosophical tradition? Such is the paradoxical question that lies at the heart of Jean-Luc Nancy's highly original and now-classic study of the role of language in the critical philosophy of Kant. While Kant did not turn his attention very often to the philosophy of language, Nancy demonstrates to what extent he was anything but oblivious to it. He shows, in fact, that the (...) question of _philosophical style_, of how to write critical philosophy, goes to the core of Kant's attempt to articulate the limits, once and for all, that would establish human reason in its autonomy and freedom. He also shows how this properly philosophical program, the very pinnacle of the Enlightenment, leads Kant to posit literature as its other by way of what is here called the _syncope_, and how this other of philosophy, entirely its product, cannot be said to exist outside of metaphysics in its accomplishment. This subtle, unprecedented reading of Kant demonstrates the continued importance of reflection on the relation between philosophy and literature, indeed, why any commitment to Enlightenment must consider and confront this partition anew. (shrink)

Why is it that the modern conception of literature begins with one of the worst writers of the philosophical tradition? Such is the paradoxical question that lies at the heart of Jean-Luc Nancy’s highly original and now-classic study of the role of language in the critical philosophy of Kant. While Kant did not turn his attention very often to the philosophy of language, Nancy demonstrates to what extent he was anything but oblivious to it. He shows, in fact, that the (...) question of philosophical style, of how to write critical philosophy, goes to the core of Kant’s attempt to articulate the limits, once and for all, that would establish human reason in its autonomy and freedom. He also shows how this properly philosophical program, the very pinnacle of the Enlightenment, leads Kant to posit literature as its other by way of what is here called the syncope, and how this other of philosophy, entirely its product, cannot be said to exist outside of metaphysics in its accomplishment. This subtle, unprecedented reading of Kant demonstrates the continued importance of reflection on the relation between philosophy and literature, indeed, why any commitment to Enlightenment must consider and confront this partition anew. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to divorce (...) themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

The geometrical elements in the architecture of Lincoln Cathedral, in the vaulting and elevations, can be compared to the geometries described by Robert Grosseteste in his cosmologies. The architecture can be read as a catechism of the cosmologies. The geometries appear in the cathedral for the first time in the history of architecture to explain the generation, emanation, reflection, refraction and rarefaction of light as it forms the material world. The proposition is that the geometries of the architecture of Lincoln (...) Cathedral can be understood in relation to the geometries which are the basis of the cosmologies of Robert Grosseteste, Bishop of Lincoln 1235–53, in particular De lineis, angulis et figuris, and De luce. Many of the architectural forms at Lincoln Cathedral are unprecedented in their appearance or use, and they form the basic vocabulary for the entire development of English Gothic architecture. Their radically new appearance has never been adequately explained. Vocabulary elements such as the ridge pole, tierceron or non-structural rib, lierne or segmented ridge rib, flying rib, conoid springer vault or cone of ribs rising from the springer pole in the elevation, triradial vaulting or three ribs meeting at the ridge pole, double syncopated or overlapping arcading, and the bundled and ribbed umbrella column, all originate in some form or are developed for the first time in Lincoln. All of the geometries which appear for the first time in the architecture appear in the cosmologies of Grosseteste, for the purpose of explaining the generation, emanation, reflection, refraction, and rarefaction of light as it forms the material world in geometrical configurations. The cathedral would thus be a catechism of the geometrical substructure of the physical world, in the tradition of the Timaeus of Plato. There is no evidence that the concepts were dictated by Grosseteste directly to masons, but it is well known that such concepts permeated medieval architecture and city planning, and that they were filtered down through all trades involved in construction of the city and the cathedral. Grosseteste’s cosmologies represent a core achievement of Scholasticism, the synthesis of classical philosophy and Catholic theology, which is embodied in the architecture of the cathedral. (shrink)

Throughout his life, contemporaries of Blanchot either sought to relegate his writing to the past, or else espoused it uncritically in a gesture akin to what Jean-Luc Nancy once called syncope. Blanchot thus divided his epoch in a way that was less a polarization than a struggle for the present in which thought takes place. Consequently, readers today in search of what makes Blanchot continue to be a contemporary find that the time of his writing is shrouded in a (...) curiously unstable quantity of oblivion. This article argues that Blanchot's refusal of biography brings about an inaugural disruption of the temporality of rational thought. From the outset, the ‘I am’ of reflection is accompanied in his writing by an ‘I am dead’ which is narrative in nature. Jacques Derrida's work is taken to exemplify the espousal of Blanchot by his contemporaries. Despite the acuity of Derrida's analyses of the fractured present of rational discourse, however, the article seeks to demonstrate that the priority of narrative in Blanchot's thought gives rise to a temporality for which philosophy can never find the measure. (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)

Un renversement topique et plusieurs retournements et contrepoints mythologiques définissent la structure du Phèdre. Régenté par Socrate, ce rythme syncopé de secousse et d’apaisement, propre à une initiation, traverse tout le dialogue. En cartographiant les redressements mythologiques et rhétoriques, les rétractations signifiées par le mouvement palinodique, les retournements de fond (vie/mort, virginité/fécondité) et les traversées de limites indiquées par des détails topographiques et des rituels, on arrive à saisir le tableau dynamique de l’âme que Platon ne définit pas mais met (...) en œuvre en y intégrant son lecteur. (shrink)

Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopated form was written by Ovid as well as spoken is provided by Metamorphoses 15.426ff.

The analyses at the core of this essay focus attention on the concepts of “Compearance” and “Exposition” in Jean-Luc Nancy’s philosophical reflection. Starting from the analyses carried out by Sartre, Lévinas and Derrida, this paper aims to define and highlight one of the fundamental concepts in Nancy’s philosophical work, which is touching. A “corpus of touch” that is a syncopated corpus, interrupted and mixed with other bodies; here the whole sense of compearance and exposition is at stake.

Questions about human reproduction and parental responsibility run through our lives. They shape our experience as natal and mortal beings and orient our thinking about generation: the process by which we come to be; the activity in which we engage or choose not to engage as procreative beings; our syncopated sense of time; our responsibility for the continuity of human life on a finite and vulnerable planet. Like all living species, humans tend to reproduce. For this reason, assumptions abou...

continent. 2.1 (2012): 1. A year has passed and continent. has sedimented an annual strata into the geological record of the Internet. During the winter months we gratefully received donations from our readership and we've applied these funds to offset some of the costs of maintaining our tidy corner of the Web. Specifically, we've used these funds to renew our accounts at Flickr, Soundcloud, and Vimeo. We also bought a snippet of code. We continue to accept donations at our WePay (...) account so that we can upgrade our server space, which is currently being donated to us. For this, our fifth issue, we offer varve as our constellating theme. From the Swedish varv , whose semantic web includes notions of “revolution,” accretion “in layers,” and “circle,” a varve is that precise geologic formation referring to the whole of any annual sedimentary layer. We didn't need to rely on Einstein alone to relativize space and time; all of the build-up of matter accrued by the passage had already accomplished that—the spatialization of time. Scaling the term up, we recall ecologist Eugene F. Stoermer coined the term Anthropocene to refer to the extent to which human impact upon the Earth had come to constitute a new geological era. Today the time we take for reflection plumbs an unprecedented ecology and brings to consciousness undiscovered contingencies. As material and medium for making, remaking, archeologizing, and archiving thought, varves (and/as/or journals) are species of the broader category of rhythmites . Secret-ing the rhythms of deep time, every record, geologic or otherwise, is subject to all the effects of interpretation and rhetoric that the contemporary DJ has at their disposal—reverberated, delayed, stuttered, syncopated, beat-juggled, back-spun, cross-faded from one epoch to another. The record itself, however, is hyperspecific: referring to moments of passing contexts, communities, and histories. But as such, a record constitutes the possibility of a long view, chronicling changes in climates, movements of occupation, and the long counts of calendars. As always, continent. welcomes excavations transdisciplinary and media-agnostic in nature and scope. We look forward to accepting yours through May 15. (shrink)

Of recent editors only Ehwald, I think, prints formosast rather than formosa est. This orthography is supported by that of the capital MSS of Virgil ; the inscriptions offer no consistent guidance. Here, however, the intentions of the writer himself are evident: Ovid must have written formosast to give three words to each season. He can be seen, as so often, improving on his model, here the Virgilian ‘mini-catalogues’ of the Eclogues, exploiting the couplet form to produce a completely symmetrical (...) effect. In his magisterial note on the orthography of prodelision at D.R.N. 1.993 Lachmann confined his remarks on the elegists to the last word of the pentameter, and his conclusion is asserted rather than argued. Here we have contemporary evidence that by Ovid at least the syncopated form was written as well as spoken. (shrink)

“You must go on. I can’t go on. I’ll go on.” These are some of the most quoted lines written by Samuel Beckett, which speak to the impulse of persevering in times of crisis and impossibility. Yet few readers of Beckett agree about what this paradoxical formula could mean, let alone what mode of engagement it would seem to indicate, be it committed, autonomous, or something else entirely. This volume of essays explores what that mode of engagement could be, all (...) the while elucidating the ethical and political stakes of the “ongoing” in both Beckett’s life and work. Across multiple disciplines in the humanities, the authors delve into questions of political subjectivity and representation, the ethics of powerlessness and refusal, the aesthetics of syncopation and destitution, multimedia experiments between genre, as well as Beckett’s wider impact on transnational itineraries of modernism and philosophy up to the contemporary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adolph Meyer’s Psychobiology in Historical Context, and Its Relationship to George Engel’s Biopsychosocial ModelEdwin R. Wallace IV (bio)Keywordspsychobiology, integrative models of psychiatry, biopsychosocial modelBefore addressing the importance of Adolf Meyer and the question of his impact on the biopsychosocial model of the psychoanalytical internist George Engel, let us tersely sketch the history of functionalism in medicine/psychiatry, and of the nineteenth/early twentieth century’s progressive abandonment of it in favor of (...) basic science reductive models of “disease,” not illness.FunctionalismWhereas Hippocratic physicians diagnosed diatheses in terms of humoral excesses or deficiencies, their primary emphasis was on the ill person. They began with careful histories of the patient’s complaints and his or her daily life course, customary activities, typical foods and beverages imbibed, and the exacerbation or relief of symptoms associated with any or all of these. They also asked questions about his physical and social environment. They carefully looked for any clinically pertinent signs, and might physically examine the patient or his excretions. When they arrived at a diagnosis (say, an excess of yellow or black bile, or of blood or phlegm), they would educate the patient about it and discuss possible approaches. Although leeching, emetics, or purgatives might be prescribed, “dietetics” was the core of the treatment. Much more than recommendations about dietary intake, this involved conversations about “lifestyle” management in general: exercise, fresh air, habit changes, and perhaps bathing in mineral waters or spas. If the patient were “melancholic” (which then included what we would now consider a variety of psychiatric disorders), he or she might be prescribed daily swimming and other forms of vigorous exercise, conversations with a philosopher, [End Page 347] attendance at theatrical comedies, or even referral to an Asklepian temple for “incubation sleep” and priestly dream interpretation. Often doctors worked closely with physical trainers, to whom they sent their patients. In short, their orientation was holistic (“mind”/”body” integration), directed first and foremost toward an individual ill person.In the second century, C.E. Galen, despite his humoral and anatomical pathologies, was similarly holistic or functionalist. He resorted to a variety of physical examinational methods while also attending to the patient’s mental/emotional status. He described one case where he was attending a woman for syncopal episodes. His examinations of her included his customary attention to the pulse. During one evening session, a servant entered and happened to mention that he had just seen the handsome Pylades dancing. Suddenly her pulse became irregular and she fainted straight away. This led Galen to consider love sickness, and perhaps not humoral or organ pathology. He tested his hypothesis during subsequent visits. Whenever another dancer or actor was mentioned, her pulse remained regular and her sensorium alert, but when Pylades was mentioned the irregular pulse and fainting recurred. Because she was married, Galen realized her insoluble conflict, and treated her accordingly.From the fall of Rome until the rise of University Medicine in the later Middle Ages, medical lore and doctoring was in monastic hands—each monastery had its clerical medic, who might also attend outsiders. They were attuned to the traditional triad of major mental disorders—mania, melancholia, and phrenitis—which they explained somatically. However, they also encountered lesser mental/emotional disorders for which they developed their own nosology. “Scrupulosity,” for example, characterized a committed monk with an unrealistic sense of sinfulness and guilt—which often drove him to self-mortification such as flagellation, hair shirts with chains underneath, and so forth, for which the remedy was kindly pastoral counseling. “Accedia” was akin to our “dysthymia,” whose sufferer was affected by sadness, lassitude, and impaired capacity to carry out the monastic routine. This was viewed as straddling the boundary between sickness and sin. Routine physical labor (“occupational therapy”) and prayers, confession, penance, and “pep talks” were prescribed.When universities with medical schools arose in the latter Middle Ages, students’ educations were mostly bookish and theoretical. Hippocratic and Galenic somatic orientations were still preeminent. (Vesalius would not publish his illustrated anatomical text until 1543.) Dietetics and purgatives, bloodletting, and so on were still favored treatments. Nevertheless, doctors gave considerable time and attention to their patients as ill... (shrink)

Ayurveda is the science of living being. With the aim of health and procurement of disease it almost covers all facets of life. It includes health of an individual at physical, mental, spiritual, social level. Ayurvedic classics includes brihatrayee samhita like Charak, Sushruta and Ashtanga Hridaya. A review based study of music (geet, sangeet) was done in these classics to explore whether these classics includes any form of music as therapy or not. Based on review of these classics it was (...) found that music in form of geet (vocal or instrument) has been given in contexts like vajikara(aphrodisiac), vata/pitta prakriti (basic consititutional make up), gandharva sattva, madyapana (intake of alcohol), therapy for rajyakshma (immune deficiency diseases), sanyasa (syncope/coma), jivadan (haemetemesis) etc. various swara have been correlated with their pacifying power of three sharirikadoshas viz. vata, pitta and kapha. Also a relationship between various raga of indian classical music have been said to be based on time of its singing which may be used as a therapy to pacify the dearrangement of prevalent doshas. several articles have shown music as therapy in sleep disorder, psychiatric disorders, schizophrenia, cardiovascular, cancer etc. with this paper a perspective of Ayurveda have been explored in music therapeutics. (shrink)

The paper investigates the history of the introduction of what was later called “analytic philosophy” in October 1911–May 1912. Despite the fact that Russell and Wittgenstein were in full agreement in their antipathy towards the old-style philosophy, for example, that of Bergson, each had his own conception of the New Philosophy. For Russell, it meant “examined philosophy”, or philosophy advanced through “scientific restraint and balance” of our theoretical conjectures, and resulted in a series of logically correctly constructed theories. For Wittgenstein, (...) it resulted in syncopated, short logical-philosophical “discoveries”. In the years to come, the two conceptions of “rigorous philosophy” embraced by Russell and Wittgenstein often came in conflict. (shrink)

So Pearson. The strange series of hypodochmiacs here and atO.T.1207 ff., with brevis in longo without pause atAj.421 andO.T.1208, seems metrically self-contained, despite their syntactical interdependence (esp.Aj.421–2οὐκέτ' ἄνδρα μὴ | τόνδ' ἴδητ', so that the word-overlap ofοἷονinto iambics in Pearson's text is unlikely.ἑξερῶ μέγαshould therefore be writtenplena scriptura. Thenοἷον οὔτιν' ἁ Τροί|α στρατοῦ…is possible, but the ithyphallic with word-overlap, sometimes found in the syncopated iambics of Aeschylus, is foreign to Sophocles. Divideἐξερῶ μέγα, | οἷον οὔτινα | Τροία…Thenϕίλοι τοῖσδ' ὁμοῦ = (...) οἷον οὔτινα, i.e.δ= hyp., which is not certainly found, and the antistrophe has two syllables extra. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Being-Moved: Rhetoric as the Art of Listening by Daniel M. GrossNathaniel A. RiversBeing-Moved: Rhetoric as the Art of Listening. By Daniel M. Gross. Oakland: University of California Press, 2020. 260 pp. Paper $34.95. ISBN: 9780520340466.September 29, 2008. Radiohead front man Thom Yorke sits frustrated at his piano. Live on stage. He is trying to start a song, but something is tripping him up. The song is “Videotape,” and (...) he cannot start playing it. “Temporary loss of information,” he mumbles to an expectant crowd.The song “Videotape” is syncopated, meaning there is a “placement of rhythmic stresses or accents where they wouldn’t normally occur” (Wikipedia 2021). Practically, it means that Yorke is joining a song already in progress: there is a beat before the beat that “starts” the song. Yorke, then, is starting the song not on the down beat but after the down beat—after the song has already started. He needs to hear something before he can play anything. He needs to hear the beat before he can sing. “Give me the fuckin’ hi-hats only,” he asks.Yorke is moved by the drum and a beat not his alone. It is a beat preceding him to which he must become subject. He needs to listen, but it is a particular kind of listening: a passive listening that makes him, as it were, “subject to the instruction of others” (Gross 137).Like Yorke on stage in 2008, I struggled to start and write this review. Not for any fault in the book, which is clear and concise, complex and compelling, but because I wanted to write a review that practiced the art of listening Gross cultivates:Active listening [“auditor-as-judge”], as it is understood by theoreticians and practitioners of persuasion from classical antiquity through today, only takes off at dusk like Hegel’s owl of Minerva, leaving behind obscurities of our daily lives including our susceptibility [End Page 190] to advertising, our political apathy, our immersion in common-sense, our lovely credulity, our vulnerability to others, our very capacity to learn and change. We have much work ahead when it comes to the theoretical and practical nuances of listening in its passive dimensions.(137)This review practices listening to this call in this way. The worry remains that the genre of the book review tends toward what Gross identifies as active listening: the judge, the critic. I should probably be the “active listener-as-judge” (83). Surely, a good reviewer should protect future readers from a “bad teacher” (131). But how should a book review practicing passive listening read? Does it aim for learning? Surely. Credulity? Why not. Subjection? Hmm.... It is, after all, subjection that lies at the heart of Gross’s book. Subjection is the beat before the beat that is rhetoric, an art forever syncopated.There are many aspects of Gross’s argument, which I will hear out below, but key for me, and crucial for Gross’s argument, is his emphasis on passive dispositions (e.g., apathy, adherence, suggestibility, attentiveness, etc.) crucial to political formations and so vital to rhetoric. Being moved, toward which rhetoric (sacred rhetoric especially) bends, must admit not only to the prowess and power of the rhetor but also, necessarily, to the “basic vulnerability that lies at the heart of political agency itself ” (1). Indeed, “Rhetoric as a life science depends upon those lives affected” (8). Because of this dependence (and dependencies saturate the arts of listening), “rhetoric offers much more detail because it is the traditional domain where subjection is both theorized and practiced” (3).To articulate this offer, Gross works through what he describes as the “orphaned materials of modernity [that] often turn out to be vital strains of a different geology altogether” (12). Gross is here describing his own historiographic methodology. There are other things to hear in and about rhetoric. The core of his argument isn’t simply that listening is a practice important to rhetoric, with listening understood as a kind of critical facility—what Gross calls “active listener-as-judge” (83–84). Listening, for Gross, through his approach to Heidegger, bears upon being and becoming... (shrink)

The dental preterite of weak verbs remains one of the most troublesome chapters of Germanic historical-comparative grammar. The morphological provenience of its dental formative -d- has been debated for nearly two centuries, and there is still no consensus on whether it is a reflex of one or more of the Indo-European dental suffixes, a grammaticalized form of the light verb d¯o ‘do’, or some mix of these. The category’s phonological development within early Germanic presents a whole series of other mysteries. (...) Why does the effect of syllable weight on umlaut in preterite stems differ in North and West Germanic, and for that matter why should umlaut be sensitive to syllable weight at all? Why does the dental preterite seem to undergo two distinct “phases” of umlaut in North Germanic, and why does this category alone undergo a special early phase of syncope in West Germanic? (shrink)

The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the analysis draws an (...) analogy between the deconstructive reading of texts and jazz improvisation to show the relevance that creativity has for both. This is followed by an examination of the similarities between Derrida's notion of différance and the musical figure of syncopation. The analysis is completed by an argument that the jazz event of the jam session is an encounter and creative 'dialogue', with features similar to Derrida's conception of hospitality. Chapter 2 focuses on deconstruction and photography. First, the discussion explores the correlation between truth and photography. It will be argued that deconstruction challenges the logocentric organisation of photographs based on the prominence of what is immediately visible in images and fosters a more creative interpretation, which is based on the play between concealment and unconcealment within photographs. Second, it investigates the implications of Derrida's analysis of temporality for photography. This supports an investigation into how Derrida's notion of responsibility and the future to come can be applied to photography. Chapter 3 focuses on deconstruction and architecture. First, the analysis establishes the links between architecture and language by outlining the creative and transformative outcome that the correlation between function and meaning in the light of deconstruction produces. Second, the investigation examines Bernard Tschumi's idea of architecture as event in Parc de La Villette. Tschumi's work is an example of how the deconstructive approach adopted by architects fosters creativity in users. Finally, the analysis focuses on the transformative and creative character of portable architecture by investigating the correlation between the creative character of deconstructive concepts such as freeplay, parergon, and the axiom of incompleteness, and the transformative features of tents. (shrink)

After Kant the meaning of freedom is considered not so much as inner experience, but rather as a requisite to understand the world. In this regard an act of freedom is not one among many human acts, but their precondition and cause. In its highest reaches freedom thus provides existence with a final possibility in which it presents itself as an aesthetic monolith. Aesthetics of freedom considers its sublimity, one that confronts the misery of suffering its deprivation. The syncope (...) of freedom consists in itself its aesthetic feasibility as a lunge equal to reaching, but not discovering freedom, the same freedom many have viewed differently in numerous moments of aspiration through the ages, but have never discovered it in the entirety of its sublimity due to evading responsibility for it. This presentation attempts to contribute to understanding whether the philosophical concept of freedom is in fact comparable to a square circle. (shrink)

"The standard historical image of Jean-Luc Godard is that of a resolute iconoclast breaking with the representational norms and codes of classical cinema in the name of liberating film from the deadening weight of its past. His numerous formal innovations—syncopated montage, unconventional framing, unique experiments with dialogue, etc.—along with his abandonment of traditional narrative and character development, his playful pastiche of genres, his debunking of the representational illusions of cinematic realism, his reflexive preoccupation with film itself and the general dissolution (...) of the distinction between high and low art have created a potent new form of cinema that continues to have far-reaching effects. More experimental than Truffaut, more temerarious than Chabrol, but less fastidious than Resnais, less obtuse and prolix than Rivette, Godard is seen as the bumptious enfant terrible of the Cahiers du cinéma who set the agenda for a new era of modernist filmmaking...". (shrink)

A missed phone call. A misheard word. An inaudible noise. All these can make the difference between life and death. Failures to listen are frequently at the root of the marginalization and exclusion of certain forms of life. Audibility decides livability. Shattering Biopolitics elaborates for the first time the intimate and complex relation between life and sound in recent European philosophy, as well as the political stakes of this entanglement. Nowhere is aurality more pivotal than in the dialogue between biopolitical (...) theory and deconstruction about the power over and of life. Closer inspection of these debates reveals that the main points of contention coalesce around figures of sound and listening: inarticulate voices, meaningless sounds, resonant echoes, syncopated rhythms, animal cries, bells, and telephone rings. Shattering Biopolitics stages a series of "over-hearings" between Jacques Derrida and Giorgio Agamben who often mishear or completely miss hearing in trying to hear too much. Notions of power and life are further diffracted as Hélène Cixous, Catherine Malabou, and Jean-Luc Nancy join in this high-stakes game of telephone. This self-destructive character of aurality is akin to the chanciness and risk of death that makes life all the more alive for its incalculability. Punctuating the book are a series of excurses on sound-art projects that interrogate aurality's subordination and resistance to biopower from racialized chokeholds and anti-migrant forensic voice analysis to politicized speech acts and activist practices of listening. Shattering Biopolitics advances the burgeoning field of sound studies with a new, theoretically sophisticated analysis of the political imbrications of its object of inquiry. Above all, it is sound's capacity to shatter sovereignty, as if it were a glass made to vibrate at its natural frequency, that allows it to amplify and disseminate a power of life that refuses to be mastered. (shrink)

Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” or “reproductive” tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between consciousness and (...) the unconscious. The performing urgency of gestures, voices, and sounds, although arranged in the same scene, highlights the difference in individual time. In this intense activity of opposition and resolution the experience becomes an unstable territory that rests on the capacity of the body to remember, decide, anticipate, and invent. The ego reveals itself to be an emerging representation of our nerve structures and, even if conscious organization continues to be attributed to it, its role is not at all crucial. Unity, if anything, means coordination. The conscious ego is the expression of the body. In its ultimate form its unity is a biological problem. (shrink)

In Plautus and elsewhere in old Latin there is an imperative suffix -mino of medio-deponential meaning: opperimino, PL True. 188 , progredimino, id. Pseud. 859, arbitramino, id. Epid. 695, praefamino, Cato, RR. 141, 2, famino Paul. Fest. 62, 10, Th., all 2 sg.; in legal documents, antestamino , in the XII Tables, fruimino , CIL. 1, 199, profitemino in Lex Iulia Municipalis, all 3 sg. The generally accepted explanation of the form is that it arose from a contamination of the (...) ordinary 2 pl. medio-passive imperative in -mini and the 2, 3 sg. forms in -to, Lindsay, Latin Language, p. 517, Von Planta, Gramm. d. oskisch-umbr. Dial. II, pp. 310 sqq., Buck, Elementarb. d. oskisch-umbr. Dial. p. 112, Sommer, Hdb. d. lat. Laut- u. Formenlehre, p. 366, Stolz, Lat. Gramm*. p. 158. The Oskan and the Umbrian forms in -mo, -mu, U. spahamu, eturstahmu, persnimu, O. censamur, all of 2 or 3 sg., and U. arsmahamo, caterahamo of 2 or 3 pi., are identified with the Lat. -minō forms on the assumption that the Osk-Umbr. -mu represents an older *-mnō which in turn arose by syncope from -*menō Von Planta, l.c. This explanation is the most satisfactory that has been given, and we may suppose that Latin, Oskan, and Umbrian had an imperative form in *-menō. (shrink)

The social function of jazz in its theoretical aspects is the subject of the present article. The author opens his discussion with a technical analysis of jazz music, on the basis of which the social significance of jazz phenomena is elucidated.The peculiar effects of jazz music are by no means limited to the upper layers of society ; they permeate the whole of society. The music has a pseudo-democratic quality, characteristic of the monopolistic phase of capitalism.Jazz music is usually trite, (...) and its orginality, however limited, manifests itself chiefly in the variations of forms in which it is reproduced*The realm of jazz ranges from „salon music“ to the military march* The former expresses a false individualism ; the latter a false collectivism. The Jazz represents a sort of conduit between these two poles, particularly in its form of „hot music“. A theory of jazz will have to dwell especially on this ambivalence. Its meaning is explained by an analogy to eccentric clowns whose inability to obey the norm of regular movement reveals itself finally as a superiority over these rules, which allows the eccentric to play with them. Thus the idea of jazz is to prove that divergence from the norm is observed as a rule throughout the total structure.The pattern of this breaking and observing of the rule at the same time is the syncope. The mechanism of its function is interpreted as a kind of unconscious and paradoxical unity of fear and fulfillment, through obedience and reward by society. The antagonistic character of jazz is expressed by the formula that the „subject of jazz“ permits itself to be annihilated by society in order to feel itself endorsed and vindicated by society.L'article présente certains éléments d'une théorie sociale du Jazz* Il utilise en particulier l'analyse technique, dont les résultats sont interprétés comme expression psychologique de réalités sociales. Le Jazz est défini „phénomène d'interférence“ entre une liberté d'improvisation du sujet, liberté tout apparente, et l'instance sociale à laquelle le sujet est soumis et qui est représenté dans la musique par le rythme et le son fondamentaux rigidement maintenus. Le Jazz lui-même n'est pas irrationnel ou archaïque, il est donné comme tel, il est „fuite du monde des marchandises dans le monde des marchandises“ ; ses traits archaïques sont en tant que tels modernes, c'est-à-dire des régressions psychologiques. C'est pourquoi, précisément en tant que marchandise, il doit se donner à la fois pour ancien et nouveau, original et banal.A l'origine, le produit est banal, originales sont, dans des limites très étroites, les transformations de celui-ci par la reproduction. Mais l'apparente liberté de la reproduction est démasquée par la démonstration qu'elle ne touche pas à la „substance“ banale. Même la rationalisation, en apparence progressive, du processus du travail entre production et reproduction ne correspond pas à la réalité. Particulièrement importante, sur ce point,, est la signification de l'amateur comme représentant du public. Au pôle opposé on trouve la musique d'art d'hier, dépravée et dépouillée de ses éléments progressifs : celle de l'impressionnisme.L'extension du Jazz est limitée par les pôles extrêmes de la musique de salon d'une part, et de la marche d'autre part, celle-là expression d'une illusoire subjectivité, celle-ci expression d'une instance sociale inhumaine. Entre ces extrêmes la „Hot Musique“ prend une position intermédiaire paradoxale et elle s’est stabilisée aujourd’hui en „Jazz classique“. C’est celui-ci que doit considérer en premier lieu la théorie du Jazz. Celle-ci est rapprochée de la figure de 1’ „excentrique“ : de même que l’incapacité de celui-ci d’obéir aux lois du mouvement s’affirme comme un jeu supérieur, ainsi l’idée du Jazz est de démontrer la rupture de la norme — la syncope — à travers toute la structure comme l’achèvement de la norme même. Le mécanisme qui agit dans ce cas, comme dans celui des „steeps“ ralentis (Gehtanz) est de nature érotique : unité d’angoisse, de tentative d’évasion, et d’assouvissement par le fait de trouver dans la société à la fois place et récompense. (shrink)

Groove—defined as the pleasurable urge to move to a rhythm—depends on a fine-tuned interplay between predictability arising from repetitive rhythmic patterns, and surprise arising from rhythmic deviations, for example in the form of syncopation. The perfect balance between predictability and surprise is commonly found in rhythmic patterns with a moderate level of rhythmic complexity and represents the sweet spot of the groove experience. In contrast, rhythms with low or high complexity are usually associated with a weaker experience of groove because (...) they are too boring to be engaging or too complex to be interpreted, respectively. Consequently, the relationship between rhythmic complexity and groove experience can be described by an inverted U-shaped function. We interpret this inverted U shape in light of the theory of predictive processing and provide perspectives on how rhythmic complexity and groove can help us to understand the underlying neural mechanisms linking temporal predictions, movement, and reward. A better understanding of these mechanisms can guide future approaches to improve treatments for patients with motor impairments, such as Parkinson’s disease, and to investigate prosocial aspects of interpersonal interactions that feature music, such as dancing. Finally, we present some open questions and ideas for future research. (shrink)

ArgumentThis essay offers a reading of Gertrude Stein's lecture “Plays” (1934) alongside the work of several thinkers on emotion, William James, Silvan Tomkins, and Wilfred Bion. The problem of what Stein calls “emotional syncopation” at the theater is understood in the context of James’ theory of emotion. The essay proceeds to unfold Stein's emphasis on varieties of excitement by way of Silvan Tomkins’ writing. It then turns to Wilfred Bion's theory of thinking to argue that the main problem with theater, (...) for Stein, is the difficulty it poses to learning or arriving at genuinely new knowledge. The essay concludes with the suggestion that Stein's plays address the further difficulties of analyzing group dynamics or numbers of individuals, especially in the context of modernist mass media. (shrink)

Danser poitrine contre poitrine, bassin contre bassin, joue contre joue, baigné-e dans l’odeur, la texture, la transpiration de la peau de l’autre. Se fondre dans les syncopes du jazz. Expérimenter des mobilités nouvelles (le buste, les hanches), des sensations inédites. Inventer un couple autonome, improvisant l’agencement des différents pas de sa danse. Rêver des Amériques... Sophie Jacotot lève le voile sur la façon dont les danses des Amériques (tango du Rio de la Plata, samba ou maxixe d...