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DTSTART;TZID=Europe/Rome:20211106T180000
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SUMMARY:The Consciousness of Neuroscience
DESCRIPTION:Watch the recording\n\n\n\n\n\nhttps://www.youtube.com/watch?v=lxG7_rMpnuk\n\n\n\n\n\nThe Consciousness of Neuroscience \n\n\n\nwith Alex Gomez-Marin \n\n\n\nSaturday November 610:00am PDT  | 1:00pm EDT  | 5:00pm GMT  |  6:00pm CET \n\n\n\nFree Online Pari Dialogue \n\n\n\nThe scientific study of consciousness used to be taboo just a few decades ago\, but it is now in its heyday. Consciousness research captures the imagination of laypeople\, attracts research funding\, and sells books. Amongst neuroscientists\, the dominant position is this: whatever consciousness is\, it must somehow emerge somewhere in the brain. Where else could it be? The challenge then is to find out how subjective experience springs from neural activity. But does it? By what kind of modern alchemy is the water of the matter supposed to be transformed into the wine of experience? We are never told. Instead\, materialism excels at selling old metaphysical commitments as new scientific data. In addition\, materialism is promissory by necessity: the grand resolution is at hand but always lies ahead – the best is yet to come. Moreover\, and despite the impressive tools available\, such a conception of the physical world dates back to the nineteenth century – ironically\, physicalism is embraced by virtually everyone except physicists themselves. In sum\, the blind spot of the neuroscience of consciousness is paradoxical: a mind studies other brains and declares itself illusory\, epiphenomenal\, or emergent at best. Here\, rather than trying to answer how “matter makes mind”\, Alex Gomez-Marin questions whether it does\, and what this entails for science writ large. He argues that the science of consciousness is at a sweet crossroads: either we continue doing science as usual with ever fancier tools and bigger data or we seize the opportunity to craft a new idea of science. \n\n\n\nOn Saturday November 6\, Alex will open our monthly Community Call with a presentation and followed by discussion and Q&A. \n\n\n\nTHIS EVENT IS FREE AND OPEN TO EVERYONE! \n\n\n\nJoin our Zoom meeting via the following link: https://us02web.zoom.us/j/89671398135 \n\n\n\nIf you would like to participate\, have any questions or need any help just contact Eleanor Peat: eleanor@paricenter.com \n\n\n\n\n\n\n\nAlex Gomez-Marin is a theoretical physicist turned cognitive neuroscientist. He was awarded his PhD in physics in 2008 by the University of Barcelona. He also holds a Masters in Biophysics from the same university. He was a postdoctoral researcher at the EMBL-CRG Centre forGenomic Regulation and at the Champalimaud Center for the Unknown\, where he studied worms\, flies and mice. Since 2016 he has been the head of the Behavior of Organisms Laboratory at the Instituto de Neurociencias (CSIC-UMH) in Alicante\, Spain. The mission of his group is to establish neuro-ethological principles across species. His latest research concentrates on machines and humans in real-world situations\, combining computational techniques with theoretical biology and continental philosophy. You can follow him at @behaviOrganisms and read his work here: https://behavior-of-organisms.org/read-us
URL:https://paricenter.com/event/the-consciousness-of-neuroscience/
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DTSTART;TZID=Europe/Rome:20211120T180000
DTEND;TZID=Europe/Rome:20211120T200000
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SUMMARY:The Colour of Sound: Emotional Response to Music Tonality
DESCRIPTION:with Donna Colemanpianist and performance researcher \n\n\n\nSaturday November 209:00am PST  | 12:00pm EST  | 5:00pm GMT  |  6:00pm CET \n\n\n\nOn top of all this I present a fine case of coloured hearing. Perhaps “hearing” is not quite accurate\, since the colour sensation seems to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet . . . has for me the tint of weathered wood\, but a French a evokes polished ebony. This black group also includes a hard g (vulcanised rubber) and r (a sooty rag being ripped). Oatmeal n\, noodle-limp l\, and the ivory-backed hand mirror of o take care of the whites. . . . Passing on to the blue group\, there is steely x\, thundercloud z\, and huckleberry k. Since a subtle interaction exists between sound and shape\, I see q as browner than k\, while s is not the light blue of c\, but a curious mixture of azure and mother-of-pearl. \n\n\n\n Vladimir Nabokov\, Speak\, Memory: An Autobiography Revisited \n\n\n\nLight and sound are waves. Light waves behave differently from sound waves\, but they have wave-ness in common. Colour is a result of the refraction (bending\, movement) of light. Sound is the result of air being moved. Light and sound also have in common the fact that they are perceived by an entity. It is not inconceivable that a colour perception could evoke or be evoked by a sonic perception\, a phenomenon known as synaesthesia. \n\n\n\nThis two-hour webinar explores the emotional response to sound as potentially distinct and discrete experiences depending upon the key of the musical composition being played\, along with the possibility that the listener may hear colour. \n\n\n\nIn the years 1722 and again in 1744\, Johann Sebastian Bach wrote twenty-four preludes and fugues\, each in a different key\, for the two volumes known as Das Wohltemperierte Klavier (The Well-Tempered Keyboard). The “tempered” scale\, which had gradually evolved out of the Medieval church modes\, consists of twelve pitches\, each of which can be cast as “major” or “minor\,” for a total of twenty-four “keys.” \n\n\n\nSelected preludes from this collection of forty-eight will be performed\, and participants will be invited to make note of any and all perceptions that arise. Discussion of these responses along with general reflections upon various colour theories and the nature of perception will follow. The music of other composers who assign colour to key\, in particular\, Olivier Messiaen and Alexander Skryabin (Scriabin)\, and composers who sought to create music with “no key” (Anton Webern\, Ruth Crawford) will also be presented for listeners’ responses. \n\n\n\nOn Saturday November 20\, Donna will open our monthly Community Call with a presentation and followed by discussion and Q&A. \n\n\n\nTHIS EVENT IS FREE AND OPEN TO EVERYONE! \n\n\n\nJoin our Zoom meeting via the following link: https://us02web.zoom.us/j/82279864300 \n\n\n\nIf you would like to participate\, have any questions or need any help just contact Eleanor Peat: eleanor@paricenter.com \n\n\n\n\n\n\n\nRecommended Reading:\n\n\n\nVisualising Visions: The Significance of Messiaen’s Colours by Håkon Austbøhttps://www.musicandpractice.org/volume-2/visualizing-visions-the-significance-of-messiaens-colours/ \n\n\n\nScriabin’s Color Symbolism in Music by Ursula Rehn Wolfmanhttps://interlude.hk/scriabins-color-symbolism-music/ \n\n\n\n\n\n\n\nDr Donna Coleman is a multi-award-winning concert pianist\, recording artist\, author\, performance researcher and philosopher\, and master teacher whose career spans a half-century\, of which more than half has been based in Australia. She is also an accomplished weaver and photographer and an amateur but passionate astronomer and archaeologist with a keen interest in the culture of the Indigenous peoples of Australia and the United States. As Head of Keyboard and of Postgraduate Studies at the Victorian College of the Arts in Melbourne\, she convened weekly thought-provoking seminars that explored relationships between music and other disciplines. Donna is writing a book entitled Dancing with the Piano\, a collection of essays distilled from these sessions and from her many years of phenomenological engagement with her ultimate dance partner\, the piano. \n\n\n\nphoto credit: Peter Paul Geoffrion
URL:https://paricenter.com/event/emotional-response-to-music-tonality/
LOCATION:Online
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