http://popups.lib.uliege.be/1373-5411/index.php?id=77 Full text issues fr Mon, 13 May 2024 16:25:07 +0200 Tue, 18 Jun 2024 13:37:01 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=77 0 http://popups.lib.uliege.be/1373-5411/index.php?id=962 The purpose of this paper is first to give a definition of anticipatory systems, then suggest a phenomenological implication of such a system. ln order to do this, the shortcomings of the Western view of knowledge based on Aristotelian and Platonic views which has dominated most of the world historical references, in comparison to Eastern philosophies, are criticized. The recent developments of autopoietic knowing and its influence on a constructivist orientation to knowledge, although significantly improved over the said views of Aristotle and Plato, are also criticized for their shortcomings. This is due to the fact that it only takes into consideration the conscious intentional aspect of human mentality, rather than a holistic view of knowing. It is further suggested that anticipatory systems viewed from the constructivist perspective faces a similar criticism. We therefore propose a phenomenological approach to knowing. In addition we suggest a model, namely mythopoietic communication, which overcomes some of the said criticism addressed at autopoietic knowing. We find no better concepts than information theory, and the phenomenology of communication that have the capability to provide us with this objective. That is, information in its very being, is the constituent of Being, it is inherent in the physical, biological, socio-cultural, as well as spiritual aspect of Being. Furthermore, the unity of Being is a text through which the pattern of behavior of parts and the whole are anticipatory in nature. Mythopoietic communication, our proposed Metaphenomenological model, we suggest is capable of addressing both issues of physicobiological, as well as archetypal meanings and symbolic dimensions of mythology, therefore the knowing of the totality of Being. Our proposed model represents our idea of bringing together all aspects of our world. The conceptual framework of the model consists of following components: the first component is information and communication theory. This theory is based on the concept of entropy that encompasses the opposite forces of nature and their transformation into one another. It deals with physical, and soco-cultural issues, whether they are material, meaning, or symbols. The second component is the phenomenology of communication, whether transcendental or immanent. The third component is autopoiesis dealing with biological entanglement and cybernetic closure. Finally, mythopoietic communication as a composite concept, which deals with the two diverse aspects of Being, namely, physical and biological (which is dealt with autopoieticly), and mythology, with a broad spectrum covering the unmeasureable aspects of human culture, including, meaning, religion, and spirituality. Wed, 03 Jul 2024 15:55:43 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=962 http://popups.lib.uliege.be/1373-5411/index.php?id=978 After briefly reviewing cunent psychological and neurophysiological knowledge about cognitive processes it is presented a chemical reaction paradigm which allows quantitative analysis of their dynamics. It is also made a reinterpretation of the model in terms of dendrodendritic local computations as well as of somato-axonal communication at a distance. It is suggested the possible utility of this model for the understanding of psychopharmacological therapy of mental disorders. Wed, 03 Jul 2024 15:59:30 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=978 http://popups.lib.uliege.be/1373-5411/index.php?id=987 Living systems, in certain circumstances, try to predict future situations, and by that, begin to adapt in advance. The behaviour of adaptation of the sportsman, or of the predator, that begins before the properly told effort, show us remarkable anticipatory characteristics. It is impossible to understand the anticipatory behaviour, and the autonomous actions, of the individuals without having recourse to a dual control. We must distinguished a direct control, each element of the action is felt, and a dual control, only the aim of the target is consciously present (attended to), the other elements of the action are relegated to the periphery of the attention. The living being deals with its external middle to establish its internal coherence, but it takes this into account only to distinguish itself by the action. The relationship/separation between the living being and its environment leans both on an internal action (to adapt it), and on an external action (to adapt its middle). The importance of the dual action for the living being, holds in the fact that it exists by the means of its self-constituent activity, "connected to" and "distinct of' a no-self. We use a dynamic structure involving catastrophe theory, to model anticipative process. The dynamics of the predation, a good example of anticipating system, can be described by an attraction of the predator with regard to the prey. René Thom showed how to use the cusp catastrophe to model predation. The predation activity can be defined by a potential. This structure takes in account the duality of the living being, the substance which is a material organisation, and the goal, which is a relational abstraction. In this paper, a new interpretation of the catastrophe theory is given in the framework of hyperincursion: a hyperincursive system is an extension of recursive systems in which the state of the system is computed from a function of itself. A Hyperincursive Cusp Function can be modelled by a Heaviside Cusp Function. A Hyperincursive Boolean Table can be built and a hyperincursive algebraic linear function can model a cusp which represents an elementary flip-flop one bit memory. A recursive process defines the successive states from its initial conditions and a hyperincursive process defines the successive states from the path chosen in the control parameters space. The recursive process is related to an internal observer and the hyperincursive process is related to an extemal observer. Wed, 03 Jul 2024 16:00:21 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=987 http://popups.lib.uliege.be/1373-5411/index.php?id=993 Distinctions are visualizable in three and more dimensions with « Mathematica » functions. The concept for rendering multiple dimensions is explained by comparing the board used for playing chess on one side and on the other side Yijing a traditional divination from China. The proposed re-ordering of coordinates and sets of data can support individual and participative evaluations of choices with or without net infrastructure. Planar representation of superimposed dimensions generate neighbourhoods which can be turned into meeting points for fast_feedback. Conflicts may thus be managed by dividing or re-unting original alliances about sublevel issues. Non-observation of causes or effects is conceptually included as well as some fuel-reduction for dogmatic conflicts. A simple reinterpretation of the dial on an analog watch may help to explain this. Wed, 03 Jul 2024 16:08:32 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=993 http://popups.lib.uliege.be/1373-5411/index.php?id=1012 The paper addresses the nature and physiological mechanisms of awareness, conscious perception, generation of thoughts and discursive and imaginative thinking. lt shows that a high-frequency cyclic process of self-identification may underlie awareness and generation of thoughts. Self-identification is a collective neuronal activity process which forms an intensive specific excitation pattern in the cerebral cortex in response to external or internal input signals. This provides the best conditions for data categorisation by distributed long-term memory. The result of categorisation, a symbol or image, expresses their subjective sense. The symbolic mapping of data means the transiton from the physiological (objective) level to the mental (subjective) level Sensory awareness is produced by the processes of intensive mapping and explicit symbolic representation of the stimulus field in the sensory areas of the cortex. A thought is produced by the processes of intensive mapping and explicit symbolic representation of multiply connected coordinated neuronal activity of the brain in the higher associative areas of the cortex. Awareness and generation of thoughts have the same nature and similar physiological mechanisms. ,4, cyclic process of internal sensori-motor rehearsal may underlie discursive and imaginative thinking. Rehearsal is a low-frequency process and its contents are accessible to survey (introspection) by the high-frequency apparatus of self-identification which is built into the rehearsal loop. Our train of mental images, words or symbols is introspectable and controllable by means of the programming apparatus of the motor system. The interacting mechanisms of sensori-motor rehearsal and self-identification allow us form images, scenes and dialogues and watch and change them thus creating a mobile, controlled mental world. Wed, 03 Jul 2024 16:17:15 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1012 http://popups.lib.uliege.be/1373-5411/index.php?id=1018 Anticipatorial maps, which newely are detected, are visually percepted personal representations of true objects to prepare the path of intentional goaldirected movement. The mapping process cuts the action-relevant external object qualities from the environmental background to constitute the needed true objects of reference within the organisation of the personal space. These virtual object representations then become the references to anchor the path of intentional movement and to bind the visual constancy in object perception. Thus either the path or the object, motion or motion perception is dominating the consciousness. These investigations in motion and perception are related to the experimental background of the personal symbol formation processes described by William Stern, Heinz Werner and Ernst Cassirer. Wed, 03 Jul 2024 16:22:25 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1018 http://popups.lib.uliege.be/1373-5411/index.php?id=1026 In this paper is proposed a system to quantify and decrease the effects generated by the chaos factors. To build such a system implies the establishment of some stages, that must be followed very strictly. Each stage is based on some principles, which conduct to the decreasing of risk factors. The authors proposes a lot of principles which allows the building of some scripts that have as objective functions the decreasing of the disturbance's effects generated by the chaos factors. In the paper it is proposed schematic system for quantify and decrease the risk generated by the chaos factors. This system is a multilevel, hierarchical and learning system, in which the commands and adjustments signals are transmitted not continuos but at some periods of times determined by the nature of the system. The system allows the evidence of adjustments loops at each hierarchical level and between the levels. Wed, 03 Jul 2024 16:30:39 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1026 http://popups.lib.uliege.be/1373-5411/index.php?id=1034 Understanding surprise is a key to the cognition of music, at all levels of musical structure: rhythm, melody, harmony, timbre. This paper addresses the modeling of surprise in particular music sequences ; Jazz harmonic progressions. Most of the works in music cognition relate surprise to the phenomenon of musical expectation: a surprise is seen as something unexpected. Furthermore, unexpected more or less means "unheard before". In this paper, we emphasize the importance of the rich algebraic structure underlying Jazz chord sequences, and suggest that harmonic surprise may not only be related to unexpected structures, but also to "calculus", i.e. to an ability to deduce a sequence from a set of combinatorial rules. We first introduce the domain of Jazz chord sequences and describe its underlying algebraic structure, based on the notion of chord substitution. We then propose to use a statistical-based data compression approach to infer recurring patterns from the corpus, and show that this yields reasonable but limited expectation structures. We then propose a mechanism to induce chord substitution rules from the corpus, and comment its ouput according to the theory of chord substitution. Finally, we suggest that such a model of chord substitution rules may be used to devise richer models of harmonic surprise. Thu, 04 Jul 2024 16:31:42 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1034 http://popups.lib.uliege.be/1373-5411/index.php?id=1041 This paper describes a preliminary investigation into the relationship between the highlevel structure of music and expressive performance. The experiment aims to determine whether it is possible in principle to develop a system which uses both the structure of a piece and real-time performance data from a human musician to provide an expressive performance. Thu, 04 Jul 2024 16:39:52 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1041 http://popups.lib.uliege.be/1373-5411/index.php?id=1049 Several experimental studies have demonstrated that the formation of groups, as defined by the Gestalt laws, applies to music listening. However, other organizational principles must be considered when music is played in real time. On this particular point, I have proposed a model based on a mechanism of cue abstraction, where two fundamental principles - the principle of similarity and the principle of difference - come into play in listening over long time spans. A number of experimental procedures based on the hvpothesis of cue abstraction in relation to the concept of Anticipation are described, but particular emphasis is given on the role of similarity-difference perception. Starting from cue abstraction, a categorization process of the musical material is immediately established on the basis of exact or varied repetitions of the abstracted structures. Progressively, all these more or less varied reiterations elaborate a memory imprint : the memory does not retain all the precise components of the material, but establishes some sort of summary which comprises the principal attributes of a set of percepts. The results of different experimental approaches that followed these methodological principles are summarised. Thu, 04 Jul 2024 16:49:09 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1049 http://popups.lib.uliege.be/1373-5411/index.php?id=1056 Anticipation in music is analysed by presenting an inventory of the possibilities of musical anticipation together with a tentative discussion of the cognitive mechanisms that may give rise to them. The "logic" of the phenomenon is exposed, laying bare the interplay between prospective and retrospective elements, and arriving at three categories of anticipation. It is further argued that in order to come to terms with musical anticipation, one must take account of the fact that we engage with music in three different ways: listening, reading, and performing. Six different types of anticipation are then proposed in relation to four structural aspects that may govern musical apprehension - continuity, segmentation, hierarchy, and network. Finally some musical examples illustrating various kinds of anticipation are presented and commented upon. Thu, 04 Jul 2024 16:54:37 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1056 http://popups.lib.uliege.be/1373-5411/index.php?id=1388 This conference highlights a compositional approach recovering and developping the hypothesis of an organic principle of the melody. Unlike the usual methods, which differentiates the organization of notes and rhythm, this principle is characterized by a strong structuration binding the notes and their respective locations in time. Its application reveals a representation of melodic objects in a geometrical space, objects called solid melodies, by analogy to the visual space. Thus, melodic objects can be observed and manipulated by mathematical transformation tools which respect their internal structures or, on the contrary, break them. One of the most interesting function taking advantage of this musical material, preventing any damage to it, is rotation. Its interest is multiple in composition: first, it generalizes the four symmetrical forms used in traditional counterpoint, second, it allows a meticulous understanding of melodic objects, facilitated by the simplicity of the processes used. Finally, this function allows a musical kinematics with succession of images obtained by rotations of an unique basic object. The comparison between visual space and sound space becomes a fertile source for the construction and the manipulation of new sound buildings. Thu, 11 Jul 2024 16:15:14 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1388 http://popups.lib.uliege.be/1373-5411/index.php?id=1395 This paper presents work in progress on the generation and cognition of emergent structure in interactive music systems. It is suggested that the affordance and perception of emergence are central to musical experience._ We propose an account of the multi-levelled, dynamically parallel nature of musical activity, and describe a system for interacting directly with this aspect of musical production. Various models of computational emergence are discussed in terms of their descriptions and redescriptions of the musical behaviour of a complex adaptive system. Thu, 11 Jul 2024 16:20:01 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1395 http://popups.lib.uliege.be/1373-5411/index.php?id=1401 This paper addresses the issue of music as a communication medium in auditory human-computer interfaces. So far, psychoacoustics has had a great influence on the development of auditory interfaces, directly and through music cognition. We suggest that a better understanding of the processes involved in the perception of actual musical excerpts should allow musical auditory interface designers to exploit the communicative potential of music. In this respect, we argue that the real advantage of music as a communication medium relies on the richness of its specifically musical meanings rather than on its formal structure. Finally, we propose a method for automating the design of musical auditory interfaces, in order to make this design possible to non-musician designers. Thu, 11 Jul 2024 16:25:05 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1401 http://popups.lib.uliege.be/1373-5411/index.php?id=1546 « Tone deafness » is a term that tends to be applied indiscriminately to a constellation of musical processing, perceptual, and production deficits. It has been estimated that 3 - 10% of the population are tone deaf (Cox, 1947; Joyner, 1968). Tone deafness can result from organic trauma (in which case the term "amusia" is often applied) or from some as-yet-unknown combination of genetic, neurochemical and environmental (i.e., learning) factors. Although the medical term "amusia" was first applied over a century ago (Edgren, 1895) the various forms of the syndrome have not been systematically classified. Preliminary research suggests that at least some of those individuals who are labeled as tone deaf lack the cognitive structures necessary to anticipate musical tonality and harmony; or lack internal self-referencing tonal schema within which to understand, process, and remember musical material. In this paper, I propose a taxonomic system for classifying the various forms of tone deafness, as a precis to new empirical research. First, I propose that tone deafness can be grouped according to four different deficits: production deficits, perceptual deficits, memory deficits, and deficits in symbolic manipulation (either music reading or writing). Among the medically documented deficits is a condition that parallels "pure word deafness" in which the subject can perceive sound, but is unable to recognize any musical or melodic qualities. Within each of these deficit families, I propose a number of specific deficits with varying causes, and describe tests that can determine the nature of a given individual's deficits. The present work, in addition to providing a formal theoretical structure within which to think about musical processing, also has relevance for artificial intelligence researchers attempting to model human cognition and music processing. Specifically, the study of individuals with tone deafness presents us with a window into the neural mechanisms of musical processing, revealing evidence for which sub-processes might be modular, and which might be interlinked Mon, 15 Jul 2024 14:44:40 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1546 http://popups.lib.uliege.be/1373-5411/index.php?id=1549 A number of recent articles have demonstrated the existence of widely held misperceptions and misunderstandings about the nature of "absolute pitch." Fundamentally, absolute pitch is a cognitive ability that relies on self-referencing (to an internalized pitch template), and a highly developed coding mechanism that links verbal labels with abstract representations of perceptual input. Many researchers in genetics, cybernetics, and other fields (e.g. Baharloo, et al., 1998; Drayna, 1998) labor under the misconception that absolute pitch involves more highly developed perceptual mechanisms, whereas the preponderance of evidence is that absolute pitch ability is an ability of long term memory and linguistic coding (Levitin, 1996). Further, many equate "absolute pitch" with "perfect pitch" whereas in fact, absolute pitch possessors do not perceive pitch any better than non-absolute pitch possessors. In this paper, I will review what is known about absolute pitch, correct common and pervasive misconceptions, and present new data on the nature of absolute pitch from our psychoacoustics laboratory. I also discuss why absolute pitch is of interest to cognitive psychologists, philosophers of mind, linguists, and cyberneticists, in terms of what the ability reveals about the processing, coding, and memory functions of human beings. Finally, I propose the first arguments toward a coherent theory of absolute pitch ability. Mon, 15 Jul 2024 14:50:17 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1549 http://popups.lib.uliege.be/1373-5411/index.php?id=1564 It is well known that the idea of visualising music has been advanced since the 18û century, and many machines to perform colour music have been proposed. There can be no doubt that Castel's Harpsichord was certainly begun, but it had not termination. In spite of this, Père Castel's experiments were directly responsible for other theories and instruments developed later, for example the Baranov-Rossine's Octophon. Composers as Messiaen had also splendidly used their synesthesia to give us the best musical moments. Russian composer Scriabin is considered to be the pioneer of light-music. He was the first composer to include a part for light in a musical score. Relation between colours and sounds, music and painting, fascinated Kandinsky so much, that this secret correspondence between arts becomes the postulate of his artistic conception. “Why should not we take a risk to arrange, in our days, a 'meeting' between Scriabin and Kandinsky ?” said Bulat Galeyev and Irina Vanechkina. In a Jubilee concert dedicated to 50-th anniversary of the Kazan Conservatory the artists proposed their own idea of directing Prometheus. Along the music of Scriabin they projected painting of Kandinsky, synthesis of two creativity, collision of two universes, the kind of "earth-orbital docking" of two like-minded persons. An art work is also an act of communication. So it is a resultant complex function of the interaction of three archetypal actions between semantic, technical and pragmatic natures. This refers also to the anthropologic structure of imaginary. Prometheus is a concrete illustration of the archetype: Light, essential picture giving a substance to the scheme: Elevation. Mon, 15 Jul 2024 14:56:48 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1564 http://popups.lib.uliege.be/1373-5411/index.php?id=1575 This paper proposes some clues for a formal framework for representing and manipulating knowledge about musical perception. Our purpose is to set up a perception model that will enable us to simulate the behaviour of an agent in listening situation. It will lead to produce an "Intelligent" representation of a piece of music. We apply ourselves here to characterize intervention of Time in the musical perception in initiating a formal comparison between several models. Reasoning within a classical time logic supposes to take a priori time as a cause to describe the nature of knowledge. Our approach consists in supposing that the structure of knowledge a posteriori informs time; thus the nature of time is a consequence of the interpretation of events. This means we have to distinguish Universal Time from a bunch of musical times. We focus on some auditives illusions for their capacity to show particular properties of Musical Time. Mon, 15 Jul 2024 15:06:54 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1575 http://popups.lib.uliege.be/1373-5411/index.php?id=1588 Harmonic priming research provides evidence that local and global harmonic contexts influence processing of target chords for musician and nonmusician listeners. Perceptual analysis-of musical structures partly depends on how listeners' knowledge of tonal hierarchies are represented in the mind. Internalized representations of structural regularities generates musical expectations and facilitates the processing of harmonically related events. MUSACT (Bharucha, 1987) provides a connectionist framework for the representation of tonal knowledge. Activation spreading through a network of representational units accounts for the influence of local and- global context on the processing of chords. The listeners' implicit knowledge of harmonic structures is acquired through mere exposure to the conventional relationships between musical events in Western tonal music. MUSACT represents the idealized end-state of such a learning process. In this paper, we present computer simulation^demonstrating that MUSACT's basic structure can be learned by mere exposure via self-organization. 1999 Mon, 15 Jul 2024 15:20:16 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1588 http://popups.lib.uliege.be/1373-5411/index.php?id=1595 This paper contains the analysis of a small piano piece by Manolis Kalomiris, chief representative of the composers of the Greek National School. Typical of the piece is its modal harmony and the lack of the “tonic” V-I cadence. However, in this analysis, a substitute for this is projected and the time-span reduction and prolongational trees are constructed with the more “stable” notes of the corresponding modes in mind. The result implies the possibility of applying the perceptual analytical model of the Generative Theory of Tonal Music to not strictly tonal pieces, but tonal in a broader way of thinking. Mon, 15 Jul 2024 15:29:58 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1595 http://popups.lib.uliege.be/1373-5411/index.php?id=1601 We discuss the use of genetic algorithms (GAs) for the generation of music. We explain the structure of a typical GA, and outline existing work on the use of GAs in computer music. We propose that the addition of domain-specific knowledge can enhance the quality and speed of production of GA results, and describe two systems which exemplify this. However, we conclude that GAs are not ideal for the simulation of human musical thought (notwithstanding their ability to produce good results) because their operation in no way simulates human behaviour. Mon, 15 Jul 2024 15:35:41 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1601 http://popups.lib.uliege.be/1373-5411/index.php?id=961 Wed, 03 Jul 2024 15:44:02 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=961