Music is fundamental to human existence, a cultural universal among all humans for all times. It is embedded in our evolution, encoded in our DNA, which is to say, essential to our survival. Academics in a variety of disciplines have considered this idea to devise explanations that Richard Manning, a lifelong journalist, finds hollow, arcane, incomplete, ivory-towered, and just plain wrong. He approaches the question from a wholly different angle, using his own guitar and banjo as instruments of discovery. (...) In the process, he finds himself dancing in celebration of music rough and rowdy. American roots music is not a product of an elite leisure class, as some academics contend, but of explosive creativity among slaves, hillbillies, fieldhands, drunks, slackers, and hucksters. Yet these people-poor, working people-built the foundations of jazz, gospel, blues, bluegrass, rock 'n' roll, and country music, an unparalleled burst of invention. This is the counterfactual to the academics' story. This is what tells us music is essential, but by pulling this thread, Manning takes us down a long, strange path, following music to deeper understandings of racism, slavery, inequality, meditation, addiction, the science of our brains, and ultimately to an enticing glimpse of pure religion. Use this book to follow where his guitar leads. Ultimately it sings the American body, electric. (shrink)

We provide a new perspective on the relation between the space of description of an object and the appearance of novelties. One of the aims of this perspective is to facilitate the interaction between mathematics and historical sciences. The definition of novelties is paradoxical: if one can define in advance the possibles, then they are not genuinely new. By analyzing the situation in set theory, we show that defining generic (i.e., shared) and specific (i.e., individual) properties of elements of a (...) set are radically different notions. As a result, generic and specific definitions of possibilities cannot be conflated. We argue that genuinely stating possibilities requires that their meaning has to be made explicit. For example, in physics, properties playing theoretical roles are generic; then, generic reasoning is sufficient to define possibilities. By contrast, in music, we argue that specific properties matter, and generic definitions become insufficient. Then, the notion of new possibilities becomes relevant and irreducible. In biology, among other examples, the generic definition of the space of DNA sequences is insufficient to state phenotypic possibilities even if we assume complete genetic determinism. The generic properties of this space are relevant for sequencing or DNA duplication, but they are inadequate to understand phenotypes. We develop a strong concept of biological novelties which justifies the notion of new possibilities and is more robust than the notion of changing description spaces. These biological novelties are not generic outcomes from an initial situation. They are specific and this specificity is associated with biological functions, that is to say, with a specific causal structure. Thus, we think that in contrast with physics, the concept of new possibilities is necessary for biology. (shrink)

Numbers have been identified with symbolic data forever. The profound association of both with acoustics, music, and sonic art from Pythagoras to current work is beyond reproach. Recently, sonification looks for ways to realize symbolic data (representing results or measurements) as well as “raw” data (signals, impulses, images, etc.) into compositions. In the strictest sense, everything in a computer is symbolic, that is, represented by 0s and 1s. In the arts, the digital age has broadened and enhanced the conceptual (...) landscape not simply through its servitude to the creative process, but as its partner. However, there is a rich history of the use of data that no doubt has paved the way for many of today’s experiments including my own. (shrink)

Error‐free genome duplication and accurate cell division are critical for cell survival. In all three domains of life, bacteria, archaea, and eukaryotes, initiator proteins bind replication origins in an ATP‐dependent manner, play critical roles in replisome assembly, and coordinate cell‐cycle regulation. We discuss how the eukaryotic initiator, Origin recognition complex (ORC), coordinates different events during the cell cycle. We propose that ORC is the maestro driving the orchestra to coordinately perform the musical pieces of replication, chromatin organization, and repair.

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...) Sbonias. Les différents spécialistes présentent ici leur travail en détail, développant les rapports des deux premières campagnes publiés dans Pharos, le périodique annuel de l'Institut néerlandais d'Athènes. (shrink)

In _Without Criteria_, Steven Shaviro proposes and explores a philosophical fantasy: imagine a world in which Alfred North Whitehead takes the place of Martin Heidegger. What if Whitehead, instead of Heidegger, had set the agenda for postmodern thought? Heidegger asks, "Why is there something, rather than nothing?" Whitehead asks, "How is it that there is always something new?" In a world where everything from popular music to DNA is being sampled and recombined, argues Shaviro, Whitehead's question is the truly (...) urgent one. _Without Criteria_ is Shaviro's experiment in rethinking postmodern theory, especially the theory of aesthetics, from a point of view that hearkens back to Whitehead rather than Heidegger. In working through the ideas of Whitehead and Deleuze, Shaviro also appeals to Kant, arguing that certain aspects of Kant's thought pave the way for the philosophical "constructivism" embraced by both Whitehead and Deleuze. Kant, Whitehead, and Deleuze are not commonly grouped together, but the juxtaposition of them in _Without Criteria_ helps to shed light on a variety of issues that are of concern to contemporary art and media practices. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

A biological explanation for the dependence of genome-wide mutation-rate variation on local base context is now becoming clearer. The proportions of G + C relative to A + T—expressed as GC%—is a species-specific DNA character. The frequencies of these single bases correlate with frequencies of corresponding oligonucleotides that are more-sensitive indicators of species specificity. Thus, when k = 3 there are 64 possible trinucleotide sequences and a GC%-rich species has a high frequency of GC-rich 3-mers. Closely related species have similar (...) k-mer patterns. For distantly related species, even if happening to have the same GC% values, k-mer patterns are widely discordant. Conventionally, a base substitution mutation is viewed as a chemical 1-mer phenomenon. However, the selective difference by which the corresponding mutation is scored usually relates to context. Thus, an A to U codon mutation in sickle cell anemia, rather than attracting an anticodon in a structural loop of glutamate tRNA, pairs with the more complementary anticodon loop of valine tRNA. Likewise, a recent statistical analysis of genome-wide mutation-rate variation supports the view that a failure of discordant DNA loops to pair at meiosis can initiate and/or sustain the speciation process. Such disharmony among base patterns may have unknowingly been hinted at by geneticist William Bateson who invoked a music metaphor when considering speciation mechanisms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Chance to CutBruce H. CampbellMy gloved hand reaches for progressively sharper surgical instruments. The prior radiation therapy and recurrent cancer [End Page E3] have made his neck tissues as stiff and hard as an old block of wood; everything appears too dull and feels too dry under the bright operating room lights. I push, dissect, urge, divide, prod, and spread with little effect.The nursing staff keeps to its (...) routine—completing computer entries, retrieving supplies, counting sponges—only intermittently aware that things are not going well at the point of attack. Nondescript music plays softly and the anesthesia machine continues to emit its gentle sounds. The junior resident—assisting me with the first of many neck dissections she will see during her five years of training—grips the retractor as she has been told and dabs the wound periodically to clear any blood or fluid.I glance up to recheck the CT scan. It confirms that this man’s recurrent cancer is just below the next layer of neck muscles. There are also some large blood vessels and major nerves nearby. I am confident, though, that I will be able to expose the mass, protect all of the critical structures, and safely remove the cancer.Curing cancer with surgery is no small feat, mind you. Cancer is, after all, a molecular disease not easily confined to an obvious lump, even though we sometimes refer to a malignant mass being “like a walnut” or “as hard and round as a marble.” The actual disease rests deep inside each cancer cell where the genetic code—the DNA—makes mistake–after–mistake. If cancer is to be cured with a surgical procedure, the surgeon must remove every last cell that is capable of making the same nonsensical, life–threatening error. Given Science’s rudimentary knowledge of cancer cell dynamics and signaling, it’s a miracle that surgery ever works. Yet, we continue to try. And we succeed just often enough to keep on trying.I rearrange the retractors and alter my approach. My mentors would have known what to do next, I imagine. My training included time well–spent with brilliant and technically–gifted surgeons. How would they have approached this case? Their experience and instincts might have told them to open the wound more widely, work the lateral and deep margins first, or position the instruments differently.Perhaps, one of my mentors would have attacked this man’s tumor using the same approach I am attempting but would have known exactly where to exploit some area of weakness that I cannot locate. A few swift, confident moves and he would have held the mass in his hands. “That’s it. We’re done,” he would have said.I met this patient several months ago when his cancer was first discovered and have seen him throughout his course of treatment. Recently, his daughter had accompanied him to the office to review his options. “Treatment has been rugged, Doc,” he reminded me. “The cancer’s still there and they said I can’t get any more radiation. Chemo would only prolong things. I don’t really want surgery, but what choice do I have if I want to be cured?”“Supportive care is an option, but the only curative approach is surgery.”“Well, I’m not ready to quit yet, Doc. I got grand-kids, y’know. I want to watch them grow up.” He nodded to his daughter. “I’m in charge of spoiling her little boys.”The daughter smiled. We crowded around the computer screen to look at the scans. I showed them how the tumor was invading and destroying surrounding structures. I described the surgery and the risks.“There are many things I will not know about your tumor until we are actually in the operating room,” I explained. Surgery in the setting of recurrent disease involves a series of on–the–spot decisions and course corrections. The odds of success are unknowable. “Sometimes, the only way to find out if we can remove the cancer is simply to try.”He took a deep breath and looked at his daughter. “Well then, Doc, if surgery is the only... (shrink)

GeneMusiK is an artistic project that puts into play ideas about the capacity of physical morphologies to act as mnemonic systems by using DNA to transcode and remix musical structures. The project suggests that both biological and cultural information can function as both macro- and micro-scale structures arrayed at physical loci to create topologies which function as keys to the mapping of memory.

A transatlantic Alice in Wonderland americanized to the point of gigantism, this conceptual romp through the widest range of topics proceeds alternately by way of heavy-handed dialogues—featuring indeed Achilles and the Tortoise not to mention the Crab, the Magnificrab, the Anteater, etc.—and extended expositions of Bach’s Musical Offering, Escher, Zen, DNA, Gödel, Turing, and artificial intelligence. The central theme is self-reference, and at no point does the author fall below the standards of basic philosophic competence that obtain today in professional (...) philosophy. Most successful perhaps as an exercise in haute vulgarisation, this hefty tome whose author is himself a professor of computer science will interest the philosopher largely as a highly redundant message, transmitted through a screen of noise, from a computer culture of a logico-materialistic orientation. (shrink)

The sciences of genetics and genomics are revealing more all the time regarding our statuses as individuals relative to our particular genomes. Geographical isolation is presumably the greatest factor in allowing for populations of a species to change genetically over time, in response to environmental pressures and genetic drift accelerated by the mechanism of sexual reproduction. In order to develop a robust account of what rights individual members of the human species might have to either their own particular DNA or (...) the human genome in general, one need to explain the relations between individuals and species in regards to deoxyribonucleic acid (DNA). The fact that genes carry over from species to species does not mean that those genes are completely identical across all species. Laws and regulations exist that govern the use of human tissues and property rights over their products. (shrink)

DNA barcodes, like traditional sources of taxonomic information, are potentially powerful heuristics in the identification of described species but require mindful analytical interpretation. The role of DNA barcoding in generating hypotheses of new taxa in need of formal taxonomic treatment is discussed, and it is emphasized that the recursive process of character evaluation is both necessary and best served by understanding the empirical mechanics of the discovery process. These undertakings carry enormous ramifications not only for the translation of DNA sequence (...) data into taxonomic information but also for our comprehension of the magnitude of species diversity and its disappearance. This paper examines the potential strengths and pitfalls of integrating DNA sequence data, specifically in the form of DNA barcodes as they are currently generated and analyzed, with taxonomic practice. (shrink)

Under the terms of the UN Convention on the Rights of the Child, which Australia has ratified, children have a right to know who their genetic parents are. As a result, we have a duty to establish these facts and to make this information available for children to access should they wish to know. Introducing mandatory DNA testing of newborns and their alleged genetic parents is one viable option to ensure that this information is available for children to access. Indeed, (...) it may be the only viable option to address childrens' right to the fulfilment of Article 7 of the CRC. There are a number of benefits to obtaining this benefit for children. For one, mandatory DNA testing could solve all disputed paternity cases and finalise them early in the lives of children, thus making life more financially secure for those children in the long term. This could reduce or eliminate the need for fathers to secretly carry out DNA tests in order to disestablish paternity. The large number of benefits gained from identifying genetic parents for children and the small possible risks that they may suffer when this information is withheld give us good reasons to support mandatory DNA testing. (shrink)

DNA topoisomerases, capable of manipulating DNA topology, are ubiquitous and indispensable for cellular survival due to the numerous roles they play during DNA metabolism. As we review here, current structural approaches have revealed unprecedented insights into the complex DNA‐topoisomerase interaction and strand passage mechanism, helping to advance our understanding of their activities in vivo. This has been complemented by single‐molecule techniques, which have facilitated the detailed dissection of the various topoisomerase reactions. Recent work has also revealed the importance of topoisomerase (...) interactions with accessory proteins and other DNA‐associated proteins, supporting the idea that they often function as part of multi‐enzyme assemblies in vivo. In addition, novel topoisomerases have been identified and explored, such as topo VIII and Mini‐A. These new findings are advancing our understanding of DNA‐related processes and the vital functions topos fulfil, demonstrating their indispensability in virtually every aspect of DNA metabolism. (shrink)

This chapter contains sections titled: Individuals and Species Commonalities among Species Individuals within Species Individual Histories and Individual Genomes The Social and Legal Importance of Individuality Human Individuals, Persons, and Rights Implications for Justice.

For nearly two decades, nonengineered human DNA was patented without challenge. The US Supreme Court recently agreed that many of those patents do not fit accurately into any currently accepted scheme of intellectual property protection. One should consider: whether DNA fits into other forms of property protection (land, moveables, chattels, etc.); whether DNA warrants a new and unique form of property protection, or whether DNA belongs to the class of objects generally considered to be as “the commons.” Current schemes of (...) patent protection for genes are entirely new, unwarranted by precedent, and utterly aberrant in applying the law of patent. Nonetheless, it bears examining how intellectual property schemes might serve as guidance for new forms of intellectual property protection for genes, if indeed those genes fit into classical dimensions of intellectual property. Private ownership of property has emerged as the dominant legal institution covering modes of possession. (shrink)

This chapter contains sections titled: Current Schemes of Intellectual Property Protection Existing Forms of Property Protection Brute Facts and Genes Unique Property Protection for DNA? The Notion of the Commons The Commons as a Choice The Commons by Necessity DNA as a Commons Is DNA More like Ideas or Radio Spectra?

Discussions of extended cognition have increasingly engaged with the empirical and methodological practices of cognitive science and psychology. One topic that has received increased attention from those interested in the extended mind is music cognition. A number of authors have argued that music not only shapes emotional and cognitive processes, but also that it extends those processes beyond the bodily envelope. The aim of this paper is to evaluate the case for extended music cognition. Two accounts are (...) examined in detail: Joel Krueger’s “musically extended emotional mind” and Tom Cochrane’s “expression and extended cognition.” Each account is evaluated using three “anti-extension” arguments. I argue that Krueger and Cochrane’s accounts offer important steps toward extended music cognition, but that each account remains underdeveloped in various ways. To supplement existing approaches, I propose a complementary extended computational approach to music cognition. The claim is that music cognition forms part of an extended system in virtue of involving computational processes that range across environmental and in-the-head elements. The paper concludes by showing how the ECMC deals with each of the three anti-extension challenges and responds to objections. (shrink)

This paper focuses on the question of whether DNA patents help or hinder scientific discovery and innovation. While DNA patents create a wide variety of possible benefits and harms for science and technology, the evidence we have at this point in time supports the conclusion that they will probably promote rather than hamper scientific discovery and innovation. However, since DNA patenting is a relatively recent phenomena and the biotechnology industry is in its infancy, we should continue to gather evidence about (...) the effects of DNA patenting on scientific innovation and discovery as well the economic, social, and legal conditions relating to intellectual property in biotechnology. We should give the free market, the courts, researchers, and patent offices a chance to settle issues related to innovation and discovery, before we seek legislative remedies, since new laws proposed at this point would lack adequate foresight and could do more harm than good. However, we should be open to new laws or regulations on DNA patents if they are required to in order to deal with some of the biases and limitations of the free market. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the (...) responsibilities that arise from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices. (shrink)

Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, (...) and relationships. Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering (...) issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

DNA methylation is a repressive epigenetic mark vital for normal development. Recent studies have uncovered an unexpected role for the DNA methylome in ensuring the correct targeting of the Polycomb repressive complexes throughout the genome. Here, we discuss the implications of these findings for cancer, where DNA methylation patterns are widely reprogrammed. We speculate that cancer‐associated reprogramming of the DNA methylome leads to an altered Polycomb binding landscape, influencing gene expression by multiple modes. As the Polycomb system is responsible for (...) the regulation of genes with key roles in cell fate decisions and cell cycle regulation, DNA methylation induced Polycomb mis‐targeting could directly drive carcinogenesis and disease progression.Editor's suggested further reading in BioEssays Unmasking risk loci: DNA methylation illuminates the biology of cancer predisposition Abstract. (shrink)

Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical skill in (...) expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

The nuclear pore complex (NPC) is emerging as a center for recruitment of a class of “difficult to repair” lesions such as double‐strand breaks without a repair template and eroded telomeres in telomerase‐deficient cells. In addition to such pathological situations, a recent study by Su and colleagues shows that also physiological threats to genome integrity such as DNA secondary structure‐forming triplet repeat sequences relocalize to the NPC during DNA replication. Mutants that fail to reposition the triplet repeat locus to the (...) NPC cause repeat instability. Here, we review the types of DNA lesions that relocalize to the NPC, the putative mechanisms of relocalization, and the types of recombinational repair that are stimulated by the NPC, and present a model for NPC‐facilitated repair. (shrink)

DNA methylation can be considered a component of epigenetic memory with a critical role during embryo development, and which undergoes dramatic reprogramming after fertilization. Though it has been a focus of research for many years, the reprogramming mechanism is still not fully understood. Recent results suggest that absence of maintenance at DNA replication is a major factor, and that there is an unexpected role for TET3-mediated oxidation of 5mC to 5hmC in guarding against de novo methylation. Base-resolution and genome-wide profiling (...) methods are enabling more comprehensive assessments of the extent to which ART might impair DNA methylation reprogramming, and which sequence elements are most vulnerable. Indeed, as we also review here, studies showing the effect of culture media, ovarian stimulation or embryo transfer on the methylation pattern of embryos emphasize the need to face ART-associated defects and search for strategies to mitigate adverse effects on the health of ART-derived children. DNA methylation, critical for embryo development, suffers significant changes after fertilization, including demethylation, remethylation and TET3-mediated oxidation of 5 mC to 5 hmC. In addition to infertility and environmental insults, ART could impact DNA methylation and ART related consequences in the offspring have been reported. (shrink)

Methylation of DNA plays an important role in the control of gene expression in higher eukaryotes. This is largely achieved by the packaging of methylated DNA into chromatin structures that are inaccessible to transcription factors and other proteins. Methylation involves the addition of a methyl group to the 5‐position of the cytosine base in DNA, a reaction catalysed by a DNA (cytosine‐5) methyltransferase. This reaction occurs in nuclear replication foci where the chromatin structure is loosened for replication, thereby allowing access (...) to methyltransferases. Partly as a result of their recognising the presence of a methylcytosine on the parental strand following replication, these large enzymes are able to maintain the distribution of methyl groups along the DNA of somatic cells and, thereby, maintain tissue‐specific patterns of gene expression. (shrink)

Profound theoretical and philosophical approach to contemporary music Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic and digital music, and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approaching music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies. Chagas’s practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of (...) Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition. The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories. (shrink)

This Christian sermon uses a DNA lab experience as a basis for theological reflection on ourselves and our offering. Who are we to God? What determines the self that we offer? Can the alphabet of DNA shed light for us on the Word of God in our lives? This first attempt to introduce the language and laboratory environment of genetic testing (represented by DNA fingerprinting) within a parish preaching context juxtaposes liturgical, scientific, and biblical language and settings for fresh insights.

Recent studies based on next‐generation DNA sequencing have revealed that the female inactive X chromosome is replicated in a rapid, unorganized manner, and undergoes increased rates of mutation. These observations link the organization of DNA replication timing to gene regulation on one hand, and to the generation of mutations on the other hand. More generally, the exceptional biology of the inactive X chromosome highlights general principles of genome replication. Cells may control replication timing by a combination of intrinsic replication origin (...) properties, local chromatin states and global levels of replication factors, leading to a functional separation between the activity of genes and their mutation. (shrink)