Science Art & Cognition Workshop 2018, memorias.

En esta segunda edición del taller Science, Art & Cognition se logró una asistencia constante durante toda la semana. Artistas de diversas disciplinas, psicólogos, biólogos, físicos, neurocientíficos, matemáticos y computólogos entre muchos otros, nos reunimos para intercambiar ideas y encontrar rutas de trabajo interdisciplinar con un mismo fin: conocer.

La participación de los asistentes fue muy activa y la retroalimentación que obtuvo cada uno de los proyectos presentados fue enriquecedora. El evento se llevó a cabo en un ambiente de camaradería en el cual se gestaron amistades y proyectos a futuro.

Desde su inicio, este fue el espíritu del taller. Crear un espacio informal en el que todos tuvieran voz y pudieran compartir su conocimiento y sus dudas con los demás.

Los esperamos en próximas ediciones y agradecemos la motivación y el trabajo realizado por todos los asistentes.

 

 

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Conferencia “It’s about Time – in the Human Brain: behavioural, neuropsychological and neuroimaging findings” por Manon Grube (Resumen)

En el marco del Taller Science Art & Cognition 2018, la PhD Manon Grube (Center for Music in the Brain, Aarhus Univ. Denmark ) , dará la conferencia titulada “It’s about Time – in the Human Brain: behavioural, neuropsychological and neuroimaging findings” el jueves 27 de septiembre.

—–Para conocer el programa del taller haz click aquí—–

—–Para hacer la aplicación al registro del taller haz click aquí—-

 

Abstract

It’s about Time – in the Human Brain: behavioural, neuropsychological and neuroimaging findings

Rhythm and timing are critical to music and speech, and the perception of rhythm and time is a most fascinating field to study to me. My research tackles mechanisms of perceptual timing, phenomenally and neurally, and in terms of their relevance. In my talk I will present an overview on my work on rhythm perception, integrating studies in neurological patients, healthy adults and children. I will first introduce the apparent distinction between beat-based and duration-based timing  (patients, TMS, fMRI). From there, I move on to advocate a tight yoking between the two, by discussing their links to language skill during adolescent development, as well as observations from non-beat based predictive timing. As a finishing note I will come back to beat-based rhythm processing, and present unpublished and on-going work on the neural correlates in the EEG.

 

Image: https://pixabay.com/en/time-clock-watches-time-of-2798570/

Conferencia Understanding Musical Schemata Across Musical Cultures por Panayotis Mavromatis (Resumen)

En el marco del Taller Science Art & Cognition 2018, el PhD Panayotis Mavromatis (Universidad de Nueva York), dará la conferencia titulada “Understanding Musical Schemata Across Musical Cultures” el viernes 28 de septiembre.

—–Para conocer el programa del taller haz click aquí—–

—–Para hacer la aplicación al registro del taller haz click aquí—-

Abstract

Understanding Musical Schemata Across Musical Cultures

Musical schemata, or patterns of varied repetition, have recently been shown to play a central role in music composition and improvisation, and are received increasing attention in music theory, historical musicology, ethnomusicology, and music information retrieval. For example, Treitler (1974, 1975), Hucke (1980), and Nowacki (1985, 1986) have studied formulaic structure in medieval plainchant and have related it to questions of oral transmission. Gjerdingen (1988, 2007) has demonstrated the pedagogical and communicative significance of schematic patterns in the galant style of eighteenth-century Europe. Seeger (1966), Shapiro (1972, 1975), and Cowdery (1984, 1990) have studied melodic families in Western folk song, and more recently Volk and collaborators (2012, 2016) have explored similar questions in a computational framework. Richard Widdess (2011) has identified schematic patterns in orally transmitted devotional songs of Nepal. And the present author has developed a computational model of formulaic structure in modern Greek church chant (Mavromatis 2005, 2009). In this talk, I suggest that diverse manifestations of schema-based variability in music can be accommodated within a common formal and computational framework of musical schema theory that draws on general cognitive schema theory (Rumelhart 1980, Schank and Abelson 1977) and on various aspects of previous music studies. Thus, behind the diversity of musical practices and attitudes, one can glean patterns of structure and behavior that could in principle be traced to a common origin, namely properties of memory and learning. The latter, though diverse in their cultural manifestations, nevertheless rely on the common biological underpinning of the human brain with its very specific capabilities and limitations.