1,721,075 research outputs found
Hypergestures in Complex Time: Creative Performance Between Symbolic and Physical Reality
No full textMusical performance and composition imply hypergestural transformation from symbolic to physical reality and vice versa. But most scores require movements at infinite physical speed that can only be performed approximately by trained musicians. To formally solve this divide between symbolic notation and physical realization, we introduce complex time (C-time) in music. In this way, infinite physical speed is “absorbed” by a finite imaginary speed. Gestures thus comprise thought (in imaginary time) and physical realization (in real time) as a world- sheet motion in space-time, corresponding to ideas from physical string theory. Transformation from imaginary to real time gives us a measure of artistic effort to pass from potentiality of thought to physical realization of artwork. Introducing C-time we define a musical kinematics, calculate Euler-Lagrange equations, and, for the case of the elementary gesture of a pianist’s finger, solve corresponding Poisson equations that describe world-sheets which connect symbolic and physical reality
Introduction to gestural similarity in music. An application of category theory to the orchestra
No full textMathematics, and more generally computational sciences, intervene in several aspects of music. Mathematics describes the acoustics of the sounds giving formal tools to physics, and the matter of music itself in terms of compositional structures and strategies. Mathematics can also be applied to the entire making of music, from the score to the performance, connecting compositional structures to the acoustical reality of sounds. Moreover, the precise concept of gesture has a decisive role in understanding musical performance. In this article, we apply some concepts of category theory to compare gestures of orchestral musicians, and to investigate the relationship between orchestra and conductor, as well as between listeners and conductor/orchestra. To this aim, we will introduce the concept of gestural similarity. The mathematical tools used can be applied to gesture classification, and to interdisciplinary comparisons between music and the visual arts
A musical reading of a contemporary installation and back: mathematical investigations of patterns in Qwalala
Full text linkMathematical music theory helps us investigate musical compositions in mathematical terms. Some hints can be extended towards the visual arts. Mathematical approaches can also help formalize a “translation” from the visual domain to the auditory one and vice versa. Thus, a visual artwork can be mathematically investigated, then translated into music. The final, refined musical rendition can be compared to the initial visual idea. Can an artistic idea be preserved through these changes of media? Can a non-trivial pattern be envisaged in an artwork, and then still be identified after the change of medium? Here, we consider a contemporary installation and an ensemble musical piece derived from it. We first mathematically investigate the installation, finding its patterns and structure, and then we compare them with structure and patterns of the musical composition. In particular, we apply two concepts of mathematical music theory, the Quantum GestART and the gestural similarity conjecture, to the analysis of Qwalala, realized for the Venice Biennale by Pae White, comparing it to its musical rendition in the homonymous piece for harp and ensemble composed by Federico Favali. Some sketches of generalizations follow, with the “Souvenir Theorem” and the “Art Conjecture.”
Shall We (Math and) Dance?
No full textCan 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
Embryo of a Quantum Vocal Theory of Sound
Full text linkConcepts and formalism from acoustics are often used to exemplify quantum mechanics. Conversely, quantum
mechanics could be used to achieve a new perspective on acoustics, as shown by Gabor studies. Here, we focus
in particular on the study of human voice, considered as a probe to investigate the world of sounds. We present
a theoretical framework that is based on observables of vocal production, and on some measurement apparati
that can be used both for analysis and synthesis. In analogy to the description of spin states of a particle,
the quantum-mechanical formalism is used to describe the relations between the fundamental states associated
with phonetic labels such as phonation, turbulence, and slow myoelastic vibrations. The intermingling of these
states, and their temporal evolution, can still be interpreted in the Fourier/Gabor plane, and effective extractors can
be implemented. This would constitute the basis for a Quantum Vocal Theory of sound, with implications in
sound analysis and design
Quanta in sound, the sound of quanta: a voice-informed quantum theoretical perspective on sound
Full text linkHumans have a privileged, embodied way to explore the world of sounds, through vocal imitation. The Quantum Vocal Theory of Sounds (QVTS) starts from the assumption that any sound can be expressed and described as the evolution of a superposition of vocal states, i.e., phonation, turbulence, and supraglottal myoelastic vibrations. The postulates of quantum mechanics, with the notions of observable, measurement, and time evolution of state, provide a model that can be used for sound processing, in both directions of analysis and synthesis. QVTS can give a quantum-theoretic explanation to some auditory streaming phenomena, eventually leading to practical solutions of relevant sound-processing problems, or it can be creatively exploited to manipulate superpositions of sonic elements. Perhaps more importantly, QVTS may be a fertile ground to host a dialogue between physicists, computer scientists, musicians, and sound designers, possibly giving us unheard manifestations of human creativity
Quantum GestART: Identifying and Applying Correlations between Mathematics, Art, and Perceptual Organization
Full text linkMathematics can help analyze the arts and inspire new artwork. Mathematics can also help make transformations from one artistic medium to another, considering exceptions and choices, as well as artists' individual and unique contributions. We propose a method based on diagrammatic thinking and quantum formalism. We exploit decompositions of complex forms into a set of simple shapes, discretization of complex images, and Dirac notation, imagining a world of “prototypes” that can be connected to obtain a fine or coarse-graining approximation of a given visual image. Visual prototypes are exchanged with auditory ones, and the information (position, size) characterizing visual prototypes is connected with the information (onset, duration, loudness, pitch range) characterizing auditory prototypes. The topic is contextualized within a philosophical debate (discreteness and comparison of apparently unrelated objects), it develops through mathematical formalism, and it leads to programming, to spark interdisciplinary thinking and ignite creativity within STEAM
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Exploring Heterogeneity with Category and Cluster Analyses for Mixed Data
Full text linkPrecision medicine aims to overcome the traditional one-model-fits-the-whole-population approach that is unable to detect heterogeneous disease patterns and make accurate personalized predictions. Heterogeneity is particularly relevant for patients with complications of type 2 diabetes, including diabetic kidney disease (DKD). We focus on a DKD longitudinal dataset, aiming to find specific subgroups of patients with characteristics that have a close response to the therapeutic treatment. We develop an approach based on some particular concepts of category theory and cluster analysis to explore individualized modelings and achieving insights onto disease evolution. This paper exploits the visualization tools provided by category theory, and bridges category-based abstract works and real datasets. We build subgroups deriving clusters of patients at different time points, considering a set of variables characterizing the state of patients. We analyze how specific variables affect the disease progress, and which drug combinations are more effective for each cluster of patients. The retrieved information can foster individualized strategies for DKD treatment
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