Shall We (Math and) Dance?

Can we use mathematics, and in particular the abstract branch of category theory, to describe some basics of dance, and to highlight structural similarities between music and dance? We first summarize recent studies between mathematics and dance, and between music and categories. Then, we extend this formalism and diagrammatic thinking style to dance.Comment: preprin

Temari Balls, Spheres, SphereHarmonic: From Japanese Folkcraft to Music

Temari balls are traditional Japanese toys and artworks. The variety of their geometries and tessellations can be investigated formally and computationally with the means of combinatorics. As a further step, we also propose a musical application of the core idea of Temari balls. In fact, inspired by the classical idea of music of spheres and by the CubeHarmonic, a musical application of the Rubik’s cube, we present the concept of a new musical instrument, the SphereHarmonic. The mathematical (and musical) description of Temari balls lies in the wide background of interactions between art and combinatorics. Concerning the methods, we present the tools of permutations and tessellations we adopted here, and the core idea for the SphereHarmonic. As the results, we first describe a classification of structures according to the theory of groups. Then, we summarize the main passages implemented in our code, to make the SphereHarmonic play on a laptop. Our study explores an aspect of the deep connections between the mutually inspiring scientific and artistic thinking

Hypercube + Rubik’s Cube + Music = HyperCubeHarmonic

Musical chords and chord relations can be described through mathematics. Abstract permutations can be visualized through the Rubik’s cube, born as a pedagogical device [7,21]. Permutations of notes can also be heard through the CubeHarmonic, a novel musical instru- ment. Here, we summarize the basic ideas and the state of the art of the physical implementation of CubeHarmonic, discussing its conceptual lift- ing up to the fourth dimension, with the HyperCubeHarmonic (HCH). We present the basics of the hypercube theory and of the 4-dimensional Rubik’s cube, investigating its potential for musical applications. To gain intuition about HCH complexity, we present two practical implementa- tions of HCH based on the three-dimensional development of the hyper- cube. The first requires a laptop and no other devices; the second involves a physical Rubik’s cube enhanced through augmented and virtual reality and a specifically-designed mobile app. HCH, as an augmented musical instrument, opens new scenarios for STEAM teaching and performing, allowing us to hear the “sound of multiple dimensions.

Categories, Musical Instruments, and Drawings: A Unification Dream

The mathematical formalism of category theory allows to investigate musical structures at both low and high levels, performance practice (with musical gestures) and music analysis. Mathematical formalism can also be used to connect music with other disciplines such as visual arts. In our analysis, we extend former studies on category theory applied to musical gestures, including musical instruments and playing techniques. Some basic concepts of categories may help navigate within the complexity of several branches of contemporary music research, giving it a unitarian character. Such a ‘unification dream,’ that we can call ‘cARTegory theory,’ also includes metaphorical references to topos theory

Comparison of Fluoroquinolones and Other Antibiotic Prophylaxis Regimens for Preventing Complications in Patients Undergoing Transrectal Prostate Biopsy

Our study aimed to compare the incidence of infective complications after transrectal ultrasound-guided prostate biopsy (TRUSBx) when adopting different antimicrobial prophylaxis regimens. A multi-institutional cohort of 1150 patients who underwent TRUSBx was retrospectively analyzed. Procedures were performed between 2017 and 2019 (before and after the EMA warning about the use of fluoroquinolones for the antibiotic prophylaxis of patient candidates to TRUSBx). The primary endpoint was the occurrence of infective complications, including sepsis and/or fever. The population was stratified according to the antibiotic prophylaxis adopted: fluoroquinolones (levofloxacin, ciprofloxacin, prulifloxacin), cephalosporins (cefixime, ceftriaxone) or trimethoprim/sulfamethoxazole. Univariable and multivariable binomial logistic regression models were used to assess the odds ratio (OR) with 95% confidence interval (CI) testing of the risk of infective complication after adjusting for each prebiopsy covariate. In total, 478 (41.6%) patients received fluoroquinolone-based prophylaxis. Among these, 443 (38.5%), 25 (2.2%) and 10 (0.9%) patients received levofloxacin prophylaxis, ciprofloxacin and prulifloxacin, respectively while 14.6% received cefixime, 20.7% received the comedication of ceftriaxone/fosfomycin and 23.1% received trimethoprim/sulfamethoxazole. The trimethoprim/sulfamethoxazole and fluoroquinolone regimens were significantly associated with a lower risk of infective complications (OR 0.15, 95% CI 0.03-0.48, p = 0.003 and OR 0.17, 95% CI 0.06-0.43, p < 0.001, respectively). The ceftriaxone/fosfomycin (OR 0.21, 95% CI 0.04-0.92, p = 0.04) and fluoroquinolone (OR 0.07, 95% CI 0.00-0.70, p = 0.048) prophylaxis were associated with a lower risk of infective sequelae. Fluoroquinolone-based prophylaxis was associated with a lower risk of infective complications after TRUSBx compared to other prophylaxis regimens although its clinical application was recently forbidden by European Medical Agency restrictions