Sound as hermeneutic, or Helmholtz and the quest for objective perception

In 1878, at the height of his fame, Helmholtz asked what was objective in perception, declaring that—in contrast to empirical science—it is the “artist [who] has beheld the real.” His lecture sought to show how sensory perception can be law-like, and how the effects of art are ultimately grounded in such law-likeness. Such a claim for an objective measure of perception was not unprecedented, yet it failed to distinguish cleanly between what is objective and what is real, opening up a discursive space regarding what sound “is,” and what its objective perception may be. Its arguments followed calls for “a science of beauty” based on number, and was motivated, in part, by Helmholtz's attempt to distance himself from the “weaknesses of Romanticism.” This articles argues that Helmholtz's bold claims were only possible on the basis of the writings of German materialists during the 1840s and 50s, and because sound had been figured for decades as an ambiguous object. On this basis, the article considers the role of sound within epistemological debates over sense perception and concepts of the real during the later nineteenth century. It examines the ways in which sound's abstract character became co-opted within Anglo-German discourse concerning objective perception and the scientifically real, initially through the lens of Helmholtz's 1878 lecture, but later broadening this focus to include the mid-century architects of a philosophical materialism, as well as their detractors. A closing case study, a closely documented wager between a geologist and a philosopher about the “real” of sound ca. 1850, demonstrates the imaginative uses of sound as a metonym for philosophical debate. This raises questions about the relation of sensation and number, the contested affinity between sound and concepts of the absolute, and the underlying desire to possess objects of sensory experience.</jats:p

Exercising musical minds: Phrenology and music pedagogy in London circa 1830

The icon of the machine in early-nineteenth-century Britain was subject to a number of contemporary critiques in which pedagogy and the life of the mind were implicated, but to what extent was education in music composition influenced by this? A number of journal articles appeared on the topic of music and phrenology, bolstered by the establishment of the London Phrenological Society (1823), and its sister organization, the British Phrenological Association (1838). They placed the creative imagination, music, and the “natural” life of the mind into a fraught discourse around music and materialism. The cost of a material mind was a perceived loss of contact with the “gifts of naturer … the dynamical nature of man … the mystic depths of man's soul” (Carlyle), but the concept of machine was also invested with magical potential to transform matter, to generate energy, and can be understood as a new ideal type of mechanism. These confliciting ideals and anxieties over mechanism, as paradigm and rallying cry, are here situated in the context of music pedagogy during the second quarter of the century, with particular reference to amateur musicians and the popular appeal of phrenological “exercise,” and of devices such as Johann Bernhard Logier's “chiroplast.”This is the final version of the article. It first appeared from the University of California Press via http://dx.doi.org/10.1525/ncm.2015.39.2.9

Music and the transhuman ear: Ultrasonics, material bodies, and the limits of sensation

Amid recent moves toward sound as vibrational force, this article argues that hearing has a special role in determining our natural sensory limits, and that recent attempts to push against these limits foreground the underlying matter of what status the biological body has in music perception and performance during the technological age. Between 1876 and 1894, prominent German acousticians—including Helmholtz—argued that humans could hear vibrations as high as 40,960Hz. While this was ultimately discredited, recent post-tonal works have notated pitches that explicitly play with, or exceed, the ordinary range of human hearing; (cf. Schoenberg, Per Nørgård, and Salvatore Sciarrino). In the context of existing ecological approaches to listening, this article asks what kind of listener such works imply. Specifically, it investigates the musical relevance of Umwelt theory by the Baltic German biologist Jakob von Uexküll, in which individuals “create” the bubble of their perceivable environment according to a reciprocal interchange between limited sense capacity and mental habit. I contrast Uexküll’s acceptance of human limits with a transhumanist worldview which anticipates the enhancement of biological sense capacities through technology. Such “morphological freedom - the right to modify and enhance one’s body” (Bostrum 2009) putatively includes augmentation of the auditory system. Finally, by tracing the genealogy of human prosthesis back to the founder of a philosopher of technology (Kapp 1877), I critique the potential for technologies in clinical audiology to grant access to ultrasonic frequencies, and assess the implications of augmented, prosthetic hearing for non-impaired listeners. The discourse of transhumanism poses questions for musical listening as soon as the body becomes an assemblage subject to variation. It raises the question of how identity—ours as well as that of musical works—might be affected by “morphological freedom,” the extent to which self-identity becomes the lost referential when agency is distributed between biological and non-biological parts, and it asks what value are the new intellectual vistas that emerge when musical experience is conceived in material terms as communication between bodies

Facing digital realities: Where media do not mix

Wagner’s vaunted model of artistic synthesis persists in scholarly assessments of his work. But at its center, the composer argued that the media of voice and orchestra do not mix: they retain their identities as separate channels of sound that can neither duplicate nor substitute for one another. Taking as a starting point Wagner’s claims for the nonadaptability of media, this article addresses the adaptation of Wagner’s music to the modern digital technologies of HD cinema and video game. Drawing on a wide circle of writers, from Friedrich Schiller and Slavoj Žižek to Mihail Bahtin, Marc Augé, Jean Baudrillard and second-generation media theorists, it interrogates the concept of reality within live acoustic performance, both historically, as a discursive concept, and technologically, via the sensory realism of digital simulcasting and telepresence. The philosophical opposition of appearance and reality fails when reality is defined by the intimate simulation of a sensory event as it is registered on the body. And by contrasting the traditions of high fidelity in (classical) sound recording with that of rendering​ ​sound in cinema, the author suggests ways in which unmixable media appear to have an afterlife in modern technologies. This raises questions—in a post-Benjamin, post-McLuhan context—about our definition of liveness, the concept of authenticity within mediatized and acoustic sounds, and our vulnerability to the technological effects of media

Phase I/Phase II study of blinatumomab in pediatric patients with relapsed/refractory acute lymphoblastic leukemia

Purpose Blinatumomab is a bispecific T-cell engager antibody construct targeting CD19 on B-cell lymphoblasts. Weevaluated the safety, pharmacokinetics, recommended dosage, and potential for efficacy of blinatumomab in children with relapsed/refractory B-cell precursor acute lymphoblastic leukemia (BCP-ALL). Methods This open-label study enrolled children , 18 years old with relapsed/refractory BCP-ALL in a phase I dosage-escalation part and a phase II part, using 6-week treatment cycles. Primary end points were maximum-tolerated dosage (phase I) and complete remission rate within the first two cycles (phase II). Results We treated 49 patients in phase I and 44 patients in phase II. Four patients had dose-limiting toxicities in cycle 1 (phase I). Three experienced grade 4 cytokine-release syndrome (one attributed to grade 5 cardiac failure); one had fatal respiratory failure. The maximum-tolerated dosage was 15 mg/m2d. Blinatumomab pharmacokinetics was linear across dosage levels and consistent among age groups. On the basis of the phase I data, the recommended blinatumomab dosage for children with relapsed/refractory ALL was 5 mg/m2d for the first 7 days, followed by 15 mg/m2d thereafter. Among the 70 patients who received the recommended dosage, 27 (39%; 95% CI, 27% to 51%) achieved complete remission within the first two cycles, 14 (52%) of whom achieved complete minimal residual disease response. The most frequent grade $ 3 adverse events were anemia (36%), thrombocytopenia (21%), and hypokalemia (17%). Three patients (4%) and one patient (1%) had cytokine-release syndrome of grade 3 and 4, respectively. Two patients (3%) interrupted treatment after grade 2 seizures. Conclusion This trial, which to the best of our knowledge was the first such trial in pediatrics, demonstrated antileukemic activity of single-agent blinatumomab with complete minimal residual disease response in children with relapsed/refractory BCP-ALL. Blinatumomab may represent an important new treatment option in this setting, requiring further investigation in curative indications

A new microporous zeolitic silicoborate (ITQ-52) with interconnected small and medium pores

A new zeolite (named as ITQ-52) having large cavities and small and medium channels has been synthesized. This was achieved by using a new family of amino-phosphonium cations as organic structure directing agents (OSDA). These cations contain P&#8722;C and P&#8722;N bonds, and therefore they lie between previously reported P-containing OSDA, such as tetraalkylphosphonium and phosphazenes. In this study, it has been found that 1,4- butanediylbis[tris(dimethylamino)]phosphonium dication is a very efficient OSDA for crystallization of several zeolites, and in some particular conditions, the new zeolite ITQ-52 was synthesized as a pure phase. The structure of ITQ-52 has been solved using high-resolution synchrotron X-ray powder diffraction data of the calcined solid. This new zeolite crystallizes in the space group I2/m, with cell parameters a = 17.511 Å, b = 17.907 Å, c = 12.367 Å, and &#946; = 90.22°. The topology of ITQ-52 can be described as a replication of a composite building unit with ring notation [435461] that gives rise to the formation of an interconnected 8R and 10R channel system.We thank financial support by the Spanish Government (MAT2012-38567-C02-01, MAT2012-38567-C02-02, Consolider Ingenio 2010-Multicat CSD-2009-00050 and Severo Ochoa SEV-2012-0267). R.S. acknowledges to UPV for a FPI predoctoral fellowship. Authors thank ALBA Light Source for beam allocation at beamline MSPD. We thank G. Sastre and J. A. Vidal for computational calculations and MAS NMR experiments, respectively.Simancas Coloma, R.; Jorda Moret, JL.; Rey Garcia, F.; Corma Canós, A.; Cantin Sanz, A.; Peral, I.; Popescu, C. (2014). A new microporous zeolitic silicoborate (ITQ-52) with interconnected small and medium pores. Journal of the American Chemical Society. 136(9):3342-3345. doi:10.1021/ja411915cS33423345136

The German Music@Home: Validation of a questionnaire measuring at home musical exposure and interaction of young children.

The present study introduces the German version of the original version of the Music@Home questionnaire developed in the UK, which systematically evaluates musical engagement in the home environment of young children. Two versions are available, an Infant version for children aged three to 23 months and a Preschool version for children aged two to five and a half years. For the present study, the original Music@Home questionnaire was translated from English into German and 656 caregivers completed the questionnaire online. A confirmatory factor analysis showed moderate to high fit indices for both versions, confirming the factor structure of the original questionnaire. Also, the reliability coefficients for the subscales (Parental beliefs, Child engagement with music, Parent initiation of singing, Parent initiation of music-making for the Infant version and Parental beliefs, Child engagement with music, Parent initiation of music behavior and Breadth of musical exposure for the Preschool version) ranged from moderate to high fits. Furthermore, the test-retest analysis (N = 392) revealed high correlations for the general factor and all subscales confirming their internal reliability. Additionally, we included language questionnaires for children of two and three years of age. Results showed that higher scores on the Music@Home questionnaire were moderately associated with better language skills in two-year-olds (N = 118). In sum, the study presents the validated German Music@Home questionnaire, which shows good psychometric properties. The two versions of the questionnaire are available for use in order to assess home musical engagement of young children, which could be of interest in many areas of developmental research

Early phase clinical trials of anticancer agents in children and adolescents — an ITCC perspective

In the past decade, the landscape of drug development in oncology has evolved dramatically; however, this paradigm shift remains to be adopted in early phase clinical trial designs for studies of molecularly targeted agents and immunotherapeutic agents in paediatric malignancies. In drug development, prioritization of drugs on the basis of knowledge of tumour biology, molecular 'drivers' of disease and a drug's mechanism of action, and therapeutic unmet needs are key elements; these aspects are relevant to early phase paediatric trials, in which molecular profiling is strongly encouraged. Herein, we describe the strategy of the Innovative Therapies for Children with Cancer (ITCC) Consortium, which advocates for the adoption of trial designs that enable uninterrupted patient recruitment, the extrapolation from studies in adults when possible, and the inclusion of expansion cohorts. If a drug has neither serious dose-related toxicities nor a narrow therapeutic index, then studies should generally be started at the adult recommended phase II dose corrected for body surface area, and act as dose-confirmation studies. The use of adaptive trial designs will enable drugs with promising activity to progress rapidly to randomized studies and, therefore, will substantially accelerate drug development for children and adolescents with cancer

Hearing in the Music of Hector Berlioz

For a long time, Hector Berlioz was thought to hold a singular, even an isolated position in music history. Among the first to offer a new perspective was Pierre Boulez, who suggested that Berlioz’s position in music history could be explained by ‘the fact that a large part of his œuvre has remained in the realm of the imaginary’. With this remark, Boulez alluded to the Grand traité d’instrumentation et d’orchestration modernes (1844/55), and more specifically to the chapter on the orchestra that closes the treatise. Speculations on the sound of an orchestra that would unite ‘all the forces that are present in Paris and create an ensemble of 816 musicians’ were, for Boulez, typical of Berlioz: ‘mixing realism and imagination without opposing one to the other, producing the double aspect of an undeniable inventive “madness” – a fairly unreal dream minutely accounted for’

Brahmaputra sediment flux dominated by highly localized rapid erosion from the Easternmost Himalaya

The Brahmaputra River slices an exceptionally deep canyon through the eastern Himalaya. Fission-track and laser-ablation U-Pb ages of detrital zircon grains from the river document very rapid erosion from this region and its impact on sediment fluxes downstream in the Brahmaputra. Downstream from the canyon, 47% of the detrital zircons in the river's modern sediment load comprise a fi ssion-track age population averaging only 0.6 Ma. Equally young cooling ages are reported from bedrock in the canyon through the Namche Barwa-Gyala Peri massif but are absent from riverbank sands of major tributaries upstream. Simple mixing models of U-Pb ages on detrital zircons from samples taken above and below this massif independently suggest that 45% of the downstream detrital zircons are derived from the basement gneisses extensively exposed in the massif. Constraints on the extent of the source area provided by bedrock cooling ages together with sediment-flux estimates at Pasighat, India, suggest exhumation rates averaging 7-21 mm yr-1 in an area of ≁3300 km2 centered on the massif. This rapid exhumation, which is consistent with the very young cooling ages of the detrital zircons from this area, produces so much sediment that ∼50% of the vast accumulation in the Brahmaputra system at the front of the Himalaya comes from only ∼2% of its drainage. This extreme localization of rapid erosion, sediment evacuation, and bedrock cooling bear on (1) common assumptions in geodynamic and geochemical studies of the Himalaya about sources of sediment, and (2) plans for hydroelectric development and flood management in southeastern Tibet and the heavily populated areas of eastern India