Toward an ecological aesthetics: music as emergence

In this article we intend to suggest some ecological based principles to support the possibility of develop an ecological aesthetics. We consider that an ecological aesthetics is founded in concepts as “direct perception”, “acquisition of affordances and invariants”, “embodied embedded perception” and so on. Here we will purpose that can be possible explain especially soundscape music perception in terms of direct perception, working with perception of first hand (in a Gibsonian sense). We will present notions as embedded sound, detection of sonic affordances and invariants, and at the end we purpose an experience with perception/action paradigm to make soundscape music as emergence of a self-organized system

Toward an ecological conception of timbre

This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach. The ecological approach to perception proposed by Gibson (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism. Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach

Scalar field cosmology in three-dimensions

We study an analytical solution to the Einstein's equations in 2+1-dimensions. The space-time is dynamical and has a line symmetry. The matter content is a minimally coupled, massless, scalar field. Depending on the value of certain parameters, this solution represents three distinct space-times. The first one is flat space-time. Then, we have a big bang model with a negative curvature scalar and a real scalar field. The last case is a big bang model with event horizons where the curvature scalar vanishes and the scalar field changes from real to purely imaginary.Comment: 11 pages, Revtex, no figues. Change in the physical interpretation of the solutio

Clifford, William Kingdon

W.K. Clifford’s famous 1876 essay The Ethics of Belief contains one of the most memorable lines in the history of philosophy: "it is wrong always, everywhere, and for anyone, to believe anything upon insufficient evidence." The challenge to religious belief stemming from this moralized version of evidentialism is still widely discussed today

Classification of Triadic Chord Inversions Using Kohonen Self-organizing Maps

In this paper we discuss the application of the Kohonen Selforganizing Maps to the classification of triadic chords in inversions and root positions. Our motivation started in the validation of Schönberg´s hypotheses of the harmonic features of each chord inversion. We employed the Kohonen network, which has been generally known as an optimum pattern classification tool in several areas, including music, to verify that hypothesis. The outcomes of our experiment refuse the Schönberg´s assumption in two aspects: structural and perceptual/functional

Sceptical Theism and the Paradox of Evil

Given plausible assumptions about the nature of evidence and undercutting defeat, many believe that the force of the evidential problem of evil depends on sceptical theism’s being false: if evil is..