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In this work a new approach to multidimensional geometry and multidimensional physics based on smooth infinitesimal analysis (SIA) is proposed. Reality may be considered as the process of time evolution of holistic energetically very weak macro objects - elastic membranes with the geometry based on smooth infinitesimal analysis. An embedded membrane in this multidimensional world will look different for the external and internal observers: from the outside it will look like a material object with smooth infinitesimal geometry, while from the inside our Universe-like space-time fabric. It is shown that our perception may be considered as the result of elastic oscillations of two dimensional elastic membranes with closed topology embedded in our bodies. Only one elastic membrane responsible for its perceptions will correspond to the selected organism, but there may be other membranes, even at the cell level. Elastic membranes stretch and propagate along the direction of attentive focus and occupy energetically favorable positions around microtubules involved into ORch OR. According to the model ORch OR and the elastic membrane corresponding to the living organism are closely connected and support each other.

We investigated the ability of people to time themselves as they perform cognitive tasks. One group did a memory search task, another did a visual search task. After each response, participants estimated the duration of their own reaction time. In both tasks, correlations between reaction times and temporal judgments were significant, showing that people can provide precise quantitative estimates of mental processes when they perform memory and visual search tasks. Increasing load lengthened reaction times and temporal estimates in both tasks. Accuracy of temporal judgments increased across blocks of experimental trials, showing considerable improvement in self-timing with practice although in visual search, improvement was more pronounced under low load conditions. Results demonstrate excellent ability for selftiming of memory and visual search, but suggest that in visual search, self-timing is influenced by stimulus conditions.

Cognitive Linguistics as an enterprise provides new theoretical and methodological instruments in understanding the relationship between people’s thoughts and the language they use. Spiritual and religious experiences (particularly the ones involving some type of revelation from or communication with a transcendent being) are especially interesting since they involve some type of external, physically invisible force or agent, contributing an “ineffable” quality to the phenomenon. However, people can and do describe such events, and metaphors and blends pervade the representations of certain concepts of the transcendental when attempting to talk about such abstract ideas. One of the main tenants of Cognitive Linguistics is that people’s views about themselves and the world around them are deeply rooted in their conceptual systems, created by their experiences and their bodily interactions with the world, whether they be physical, psychological or social. People who practice spirituality reach certain states by means of personal or collective rituals, such as prayer, meditation, and bodily procedures involving discipline, as is the case of fasting or re-understanding pain. When they then communicate certain religious and spiritual concepts, they are revealing a great deal about themselves and their world and the way they interact with it. Concepts dealing with people’s system of beliefs are very “meaningful” for the individual, and the more entrenched a frame of mind is, the less plastic it is, a fact confirmed by the neurosciences which claim that it is difficult to break down and reconstruct certain synaptic structures of the brain. But how do people who have had such awesome experiences represent these supernatural encounters and their states of being? What is the relationship between the concepts of body and soul in devotees who torture their bodies, who have out of body experiences or who describe a body possessed by other spirits? What does the language they use say about the individuals’ concept of themselves and their world? I will present some of my own research data containing conceptual metaphors and blends collected in various sacred texts and during a series of interviews of people who claim to have had such supernatural experiences. The data includes linguistic expressions as well as gesture. Moreover, the interviewees were asked to draw on paper certain experiences of spiritual nature and then to describe their pictures. My investigation will try to shed new light on the phenomenology of spiritual experiences and personhood, using cognitive linguistics as a prime tool of analysis.

I will explore some of my conclusions concerning conceptual metaphors collected during a series of interviews, in particular with two Christian street preachers. The data includes speech, gesture, and commented drawings of God, themselves and paradise. Some of the metaphors analyzed are: metaphors for God (FATHER, SHEPHERD, LOVER, etc); GOOD/GOD IS UP; BAD IS DOWN; STRICT FATHER vs. NURTURING PARENT; MORAL ACCOUNTABILITY. This data demonstrates that the more entrenched a frame of mind is, the less plastic it is, because the primary source domain of our habitual conceptual metaphor will always motivate any other “laminated domain mappings”, or blends, especially for such meaningful concepts like personhood or belief systems. My investigation will try to shed new light on the phenomenology of religious experiences and personhood, using cognitive linguistics as a prime tool of analysis.

Traditionally, spiritual experiences have been considered "ineffable," but metaphors pervade the representations of certain concepts of the transcendental in an attempt to talk about such abstract ideas. Whether it be during the description of a vision or simply talking about morality, people use conceptual metaphors to reason and talk about these concepts. Many representations of God, spirits, or the afterlife are culturally based, but whereas some may differ based on individual experiences, others seem to have a more universal character. From a phenomenological point of view, it seems that the descriptions are contingent and not necessary, that is, the language a believer is exposed to may influence, but not condition a priori, his or her own spiritual experience as Constructivists have thought. People's views about themselves and the world around them are deeply rooted in their conceptual systems, which are created by their experiences and their bodily interactions with the world, whether it's having to do with gravity in the case of UP and DOWN, or what our individual and social concepts are. When people talk about religious and spiritual concepts, they are revealing a great deal about their world and themselves and the way they interact with it. Concepts dealing with people's system of beliefs are very "meaningful" for the individual, and the more entrenched a frame of mind is, the less plastic it is, a fact confirmed by the neurosciences, which claim that it is difficult to break down and reconstruct certain synaptic structures of the brain. How do today's common "faithful" relate to certain metaphors about spiritual concepts transmitted by their faiths? What do these metaphors say about the individuals' concepts of themselves and their world? I will explore some of my own conclusions concerning conceptual metaphors and figurative language collected in various sacred texts and during a series of interviews of religious people with different backgrounds of religious systems. The data include linguistic expressions as well as gesture. Moreover, the interviewees were asked to draw on paper certain experiences of religious nature and then to describe their pictures. My investigation will try to shed new light on the phenomenology of religious experiences and personhood, using cognitive linguistics as a prime tool of analysis.

In this paper we discuss the application of the Kohonen Selforganizing Maps to the classification of triadic chords in inversions and root positions. Our motivation started in the validation of Schönberg´s hypotheses of the harmonic features of each chord inversion. We employed the Kohonen network, which has been generally known as an optimum pattern classification tool in several areas, including music, to verify that hypothesis. The outcomes of our experiment refuse the Schönberg´s assumption in two aspects: structural and perceptual/functional.

Presence is commonly defined as the subjective feeling of "being there". It has been mainly conceived of as deriving from immersion, interaction, and social and narrative involvement with suitable technology. We argue that presence depends on a suitable integration of aspects relevant to an agent's movement and perception, to her actions, and to her conception of the overall situation in which she finds herself, as well as on how these aspects mesh with the possibilities for action afforded in the interaction with the virtual environment.

The “individuation” of oral language - what makes a speaker different from another - is still largely an unknown territory [1], especially with respect to the individual and creative use of speech prosody. This pilot study raises fundamental, methodological and empirical issues concerning the relationship between speakers’ prosodic styles and their personality profiles. Our preliminary results support the hypothesis of a relationship between prosodic styles and "personality style" as perceived by listeners.

Linguists have traditionally classified languages into three rhythm classes, namely stress-timed, syllable-timed and mora-timed languages. However, this classification has remained controversial for various reasons: the search for reliable acoustic cues to the different rhythm types has long remained elusive; some languages are claimed to belong to none of the three classes; and few perceptual studies has bolstered the notion. We have previously proposed an acoustic/phonetic model of the different types of linguistic rhythm, and of their categorisation as such by listeners. Here, we present perceptual experiments that directly test the notion of rhythm classes, our model's predictions, and the question of intermediate languages. Language discrimination experiments were run using a speech resynthesis technique to ensure that only rhythmic cues were available to the subjects. Languages investigated were English, Dutch, Spanish, Catalan and Polish. Our results are consistent with the idea that English and Dutch are stress-timed, Spanish and Catalan are syllable-timed, but Polish seems to be different from any other language studied and thus may constitute a new rhythm class. We propose that perceptual studies tapping the ability to discriminate languages' rhythm are the proper way to generate more empirical data relevant to rhythm typology.

This paper discuss the use of environmental sounds in musical composition, specially in the so-called Soundscape music. The use of such sounds in compositions created with technological support after the 60’s have started a controversial discussion on the musical syntax that such sounds can generate. The environmental sounds also raised important debates related to theories of auditory perception. Related to this point we present the processes of listening based on the ecological approach to auditory perception, which comes from J. J. Gibson’s theory of direct perception. This theory is taken as base to a new approach to environmental sonic materials and its insertion in the compositional processes. Our goal is to raise the issues that had lead to all those problems, and to briefly expose the theory of direct perception of J.J. Gibson as well. We conclude showing a possibility to use the notions of the ecological approach to perception as alternative analytic tools for soundscape music.

The corticothalamic feedback and the thalamic reticular nucleus have gained much attention lately because of their integrative and modulatory functions. A previous study by the author suggested that this circuitry can process analogies (i.e., the {\em analogy hypothesis}). In this paper, the proposed model was implemented as a network of leaky integrate-and-fire neurons to test the {\em analogy hypothesis}. The previous proposal required specific delay and temporal dynamics, and the implemented network tuned accordingly functioned as predicted. Furthermore, these specific conditions turn out to be consistent with experimental data, suggesting that a further investigation of the thalamocortical circuit within the {\em analogical framework} may be worthwhile.

In this article we intend to suggest some ecological based principles to support the possibility of develop an ecological aesthetics. We consider that an ecological aesthetics is founded in concepts as “direct perception”, “acquisition of affordances and invariants”, “embodied embedded perception” and so on. Here we will purpose that can be possible explain especially soundscape music perception in terms of direct perception, working with perception of first hand (in a Gibsonian sense). We will present notions as embedded sound, detection of sonic affordances and invariants, and at the end we purpose an experience with perception/action paradigm to make soundscape music as emergence of a self-organized system.

The corticothalamic feedback and the thalamic reticular nucleus have gained much attention lately because of their integrative and modulatory functions. A previous study by the author suggested that this circuitry can process analogies (i.e., the {\em analogy hypothesis}). In this paper, the proposed model was implemented as a network of leaky integrate-and-fire neurons to test the {\em analogy hypothesis}. The previous proposal required specific delay and temporal dynamics, and the implemented network tuned accordingly functioned as predicted. Furthermore, these specific conditions turn out to be consistent with experimental data, suggesting that a further investigation of the thalamocortical circuit within the {\em analogical framework} may be worthwhile.

In this paper we develop an approach to musicology within the discussion of emergentism. First of all, we claim that some theories of musicology could be insufficient in describing and explaining musical phenomena when emergent properties are not taken into account. Actually, musicology usually considers just syntactical elements, structures and processes and puts only a little emphasis, if any, over perceptual aspects of human hearing. On the other hand, recent research efforts are currently being directed towards an understanding of the emergent properties of auditory perception, especially in fields such as cognitive science. Such research leads to other views concerning old issues in musicology and could create a fruitful approach, filling the gap between musicology and auditory perception.

This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach. The ecological approach to perception proposed by Gibson (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism. Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach.

Judgments of style in art, music, and literature are commonplace, although the mechanisms providing for this structural sensitivity are not well understood. Watanabe, Sakamoto, and Wakita (1995) showed that pigeons trained to discriminate colour slides of paintings of Picasso from those of Monet could generalise this discrimination not only to new paintings of Picasso and Monet, but also to paintings of other cubist and impressionist painters. These results suggest that the bases for such judgments of artistic style may be simpler than normally thought. This tacit sensitivity to artistic style is explored in terms of a simple PCA network model applied to pixel-maps of the paintings. The eigenvectors obtained from the singular value decomposition of sets of these pixel-maps provide for descriptions of the stimuli in terms of visual “macro-features”. These macro-features provide a simple basis not only for recognising previously-experienced paintings, but for the successful discrimination of novel paintings into various style categories. A summary of simulations of the performance of Watanabe et al.’s pigeons using precisely the same stimuli and tasks is provided. The results suggest that the eigen-decomposition is a necessary first-step, and that the bases for judgments of style may indeed be quite simple.

There is a growing debate among developmental theorists concerning the perception of causality in young infants. Some theorists advocate a top-down view, e.g., that infants reason about causal events on the basis of intuitive physical principles. Others argue instead for a bottom-up view of infant causal knowledge, in which causal perception emerges from a simple set of associative learning rules. In order to test the limits of the bottom-up view, we propose an optimal control model (OCM) of infant causal perception. OCM is trained to find an optimal pattern of eye movements for maintaining sight of a target object. We first present a series of simulations which illustrate OCM's ability to anticipate the outcome of novel, occluded causal events, and then compare OCM's performance with that of 9-month-old infants. The impications for developmental theory and research are discussed

This article is a theoretical consideration on the role of sensory pleasure and mental joy as optimizers of behavior. It ends with an axiomatic proposal. When they compare the human body to its environment, Philosophers recognise the cosmos as the Large Infinite, and the atomic particles as the Small Infinite. The human brain reaches such a degree of complexity that it may be considered as a third infinite in the universe, a Complex Infinite. It follows that any force capable of moving such an infinite deserves a place among the forces of the universe. Physicists have recognized four forces, the gravitational, the electromagnetic, the weak, and the strong nuclear force. Forces are defined in four dimentions (reversible or not in time) and it is postulated that these forces are valid and applicable everywhere. Pleasure and displeasure, the affective axis of consciousness, can move the infinitely complex into action and no human brain can avoid the trend to maximize its pleasure. Therefore, we suggest, axiomatically, that the affective capability of consciousness operates in a way similar to the four forces of the Physics, i.e. influences the behavior of conscious agents in a way similar to the way the four forces influence masses and particles. However, since a mental phenomenon is dimensioneless we propose to call the affective capability of consciousness the fifth influence rather than the fifth force.

It is surely not irrelevant that such a large proportion of the brain is devoted to the body and to sensorimotor processing (Jeannerod 1994, Kaas 1995, Zhang et al. 1997). That should already serve to alert us that embodiment is likely to be an important factor in cognition. Add to that the well-rehearsed advantages of letting the world serve as its own model (Steels & Brooks 1995), Gibson's (1979) influential findings on the role of sensorimotor interaction in the detection of invariants, and perhaps also my own writing on the symbol grounding problem (Harnad 1990, 1996) and there would appear to be a good deal of support for Pfeifer's (1998) position.