Modes of communication during jazz improvisation

This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances

Composition and the search for self‐awareness

Composition studies saw several cogent criticisms of expressivism in the late 1980s and early 1990s. Some scholars assume that those criticisms discredited expressivism in composition studies, ending the focus on assignments that ask students to write personal, supposedly introspective papers that were believed to lead to self‐awareness and self‐identity. Even so, recent research suggests that the expressivist pedagogical orientation is still widely used in writing classes across the US. Joshua Hilst (2012) sought to rehabilitate expressivism by drawing on the work of philosopher Giles Deleuze, arguing that neo‐expressivism provides a palliative to those criticisms. In this regard, Hilst’s analysis follows the current trend of applying Deleuze’s philosophy to a variety of fields. The present analysis therefore consists of two parts, both with pedagogical implications. First, it examines Deleuze’s work and illustrates how his neo‐expressivism and views on writing are incongruent with the expressivism applied in composition studies. Second, it examines the psychological research on introspection and self‐ awareness that has demonstrated with considerable consistency the opacity of mental processes and the difficulty associated with gaining any sense of self‐awareness or self‐identity

There Is Something about Jena Malone: New Insights into How Celebrities Appeal to Consumers

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the URI link.Although the public demand for celebrities has grown so strong these days that they have without any doubt become an essential part of our everyday lives and contemporary market economy, the marketing literature has paid scant attention to them beyond their mere potential as product endorsers. Therefore, this paper explores how celebrities capture our attention and appeal to us personally. In doing so, it seeks to explain in particular how and why consumers become emotionally attached to one celebrity, but remain indifferent to many other equally talented, interesting and attractive ones. Drawing on introspective insights from the author’s own personal fan relationship with the film actress Jena Malone and consumer responses from previous ethnographic studies of celebrity fans, the paper examines what the substance of a celebrity is and how it appeals to the individual consumer. The study finds that the substance of a celebrity consists of four key human brand attributes through which s/he appeals to consumers as a) the performer, b) the real person underneath the performer, c) the tangible manifestation of both through products, and c) the social link to other consumers

Action-based effects on music perception

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance

The Allure of Celebrities: Unpacking Their Polysemic Consumer Appeal

The file attached to this record is the author's final peer reviewed version.To explain their deep resonance with consumers this paper unpacks the individual constituents of a celebrity’s polysemic appeal. While celebrities are traditionally theorised as unidimensional ‘semiotic receptacles of cultural meaning’, we conceptualise them here instead as human beings/performers with a multi-constitutional, polysemic consumer appeal. Supporting evidence is drawn from autoethnographic data collected over a total period of 25 months and structured through a hermeneutic analysis. In ‘rehumanising’ the celebrity, the study finds that each celebrity offers the individual consumer a unique and very personal parasocial appeal as a) the performer, b) the ‘private’ person behind the public performer, c) the tangible manifestation of either through products, and d) the social link to other consumers. The stronger these constituents, individually or symbiotically, appeal to the consumer’s personal desires the more s/he feels emotionally attached to this particular celebrity. Although using autoethnography means that the breadth of collected data is limited, the depth of insight this approach garners sufficiently unpacks the polysemic appeal of celebrities to consumers. The findings encourage talent agents, publicists and marketing managers to reconsider underlying assumptions in their talent management and/or celebrity endorsement practices. While prior research on celebrity appeal has tended to enshrine celebrities in a “dehumanised” structuralist semiosis, which erases the very idea of individualised consumer meanings, this paper reveals the multi-constitutional polysemy of any particular celebrity’s personal appeal as a performer and human being to any particular consumer

Lisp, Jazz, Aikido -- Three Expressions of a Single Essence

The relation between Science (what we can explain) and Art (what we can't) has long been acknowledged and while every science contains an artistic part, every art form also needs a bit of science. Among all scientific disciplines, programming holds a special place for two reasons. First, the artistic part is not only undeniable but also essential. Second, and much like in a purely artistic discipline, the act of programming is driven partly by the notion of aesthetics: the pleasure we have in creating beautiful things. Even though the importance of aesthetics in the act of programming is now unquestioned, more could still be written on the subject. The field called "psychology of programming" focuses on the cognitive aspects of the activity, with the goal of improving the productivity of programmers. While many scientists have emphasized their concern for aesthetics and the impact it has on their activity, few computer scientists have actually written about their thought process while programming. What makes us like or dislike such and such language or paradigm? Why do we shape our programs the way we do? By answering these questions from the angle of aesthetics, we may be able to shed some new light on the art of programming. Starting from the assumption that aesthetics is an inherently transversal dimension, it should be possible for every programmer to find the same aesthetic driving force in every creative activity they undertake, not just programming, and in doing so, get deeper insight on why and how they do things the way they do. On the other hand, because our aesthetic sensitivities are so personal, all we can really do is relate our own experiences and share it with others, in the hope that it will inspire them to do the same. My personal life has been revolving around three major creative activities, of equal importance: programming in Lisp, playing Jazz music, and practicing Aikido. But why so many of them, why so different ones, and why these specifically? By introspecting my personal aesthetic sensitivities, I eventually realized that my tastes in the scientific, artistic, and physical domains are all motivated by the same driving forces, hence unifying Lisp, Jazz, and Aikido as three expressions of a single essence, not so different after all. Lisp, Jazz, and Aikido are governed by a limited set of rules which remain simple and unobtrusive. Conforming to them is a pleasure. Because Lisp, Jazz, and Aikido are inherently introspective disciplines, they also invite you to transgress the rules in order to find your own. Breaking the rules is fun. Finally, if Lisp, Jazz, and Aikido unify so many paradigms, styles, or techniques, it is not by mere accumulation but because they live at the meta-level and let you reinvent them. Working at the meta-level is an enlightening experience. Understand your aesthetic sensitivities and you may gain considerable insight on your own psychology of programming. Mine is perhaps common to most lispers. Perhaps also common to other programming communities, but that, is for the reader to decide..

’The Book of Stars’: Understanding a Consumer’s Fan Relationship with a Film Actress Through a Narrative Transportation Approach

Although consumers have always been fascinated by the works and private lives of film stars, scant attention has been paid as to how the relationship between fans and film actors expresses itself in everyday consumer behaviour. This paper sets therefore out to explore celebrity fandom as a holistic lived experience from an individual fan’s insider point of view. Using subjective personal introspection, the lead author provides insights into his own private everyday lived fan relationship with the actress Jena Malone. The findings indicate that the fan engages with the film star’s public persona through a personal intertextual reading of “reliable” media texts, which can even result in a feeling of “knowing” the celebrity like a personal friend–and even “love.

Artificial Intelligence in the Context of Human Consciousness

Artificial intelligence (AI) can be defined as the ability of a machine to learn and make decisions based on acquired information. AI’s development has incited rampant public speculation regarding the singularity theory: a futuristic phase in which intelligent machines are capable of creating increasingly intelligent systems. Its implications, combined with the close relationship between humanity and their machines, make achieving understanding both natural and artificial intelligence imperative. Researchers are continuing to discover natural processes responsible for essential human skills like decision-making, understanding language, and performing multiple processes simultaneously. Artificial intelligence attempts to simulate these functions through techniques like artificial neural networks, Markov Decision Processes, Human Language Technology, and Multi-Agent Systems, which rely upon a combination of mathematical models and hardware

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo