Suchergebnisse

I Introduction -- 1 A Survey on Biological Rhythms -- 2 Methodology -- 3 Data Analysis -- 4 Mathematical Models -- II Daily Rhythms -- 5 Circadian Systems: General Perspective -- 6 Freerunning and Entrained Circadian Rhythms -- 7 Circadian Systems: Entrainment -- 8 Behavioral Rhythms in Invertebrates -- 9 Neural and Endocrine Control of Circadian Rhythmicity in Invertebrates -- 10 Genetics and Development of Circadian Rhythms in Invertebrates -- 11 Vertebrate Behavioral Rhythms -- 12 Internal Temporal Order -- 13 Neural and Endocrine Control of Circadian Rhythms in the Vertebrates -- 14 Ontogeny of Circadian Rhythms -- 15 Adaptive Daily Strategies in Behavior -- 16 Clock-Controlled Orientation in Space -- 17 The Circadian System of Man -- 18 Rhythms in Performance -- III Tidal, Lunar, and Annual Rhythms -- 19 Tidal and Lunar Rhythms -- 20 Annual Rhythms: Perspective -- 21 Circannual Systems -- 22 Insect Photoperiodism -- 23 Photoperiodism in Vertebrates -- 24 Annual Rhythms in Man -- IV Rhythms Not Directly Related to Environmental Cycles -- 25 Short-Term Rhythms in Activity -- 26 Temporal Characteristics of Sleep -- 27 Cyclic Function of the Mammalian Ovary.

Abstract
This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled "Effects of poetic enunciation: Seven types of iconicity". Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In "Effects of poetic enunciation", I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology.

The question of rhythm is a social, a cultural, and a political question. How to find a rhythm? And, more importantly, how can the economy find a rhythm, without tending towards the mastering of chaos and the prediction of unexpected events?

The celebrated Russian pianist and conductor, Vladimir Ashkenazi, was born in Gorky in 1937 and made his debut as a pianist at the age of seven. he studied at the Central Music School in Moscow and at the Moscow Conservatoire. After winning many international prizes, he defected to the UK in 1963. From 1978-1996, he was musical director of the Royal Philharmonic Orchestra and now conducts the Czech Philharmonic Orchestra. He has lived in Iceland since 1972

In this book Susan Bee sets and illustrates a long serial poem by Charles Bernstein, offering a running visual dialogue with the poem's textual acrobatics. Together they explore the psychopathology of everyday life: at times dark, at times dizzyingly demented, swerving from the wildly comic to the searingly political and from the whimsical to the elegiac. Printed offset (black ink on white paper) by Brad Freeman. Cover designed by Philip Gallo and Susan Bee then laser-printed in color at the Hermetic Press. -- Granary Books web site The poem originally appeared in Salt . 500 copies printed--Colophon.

People naturally identify the rhythm of music as they tap their feet and sway in time with the beat. Underlying such motions is an act of cognition that is not easily reproduced in a computer program or automated by machine. This work asks (and answers) the question: How can we build a device that can "tap its foot" along with the music?