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The phylontogenic theory proposes an original understanding of nose, sinus and midface formation and development by looking back in evolution for the first traces of the olfactory organ and then tracing its successive phyletic transformations to become part of the respiratory apparatus and finally the central point of human facial anatomy. Von Baer’s, Darwin’s, Haeckel’s, Garstang’s, Gould’s and Buss’ explorations of parallels between phylogeny and ontogeny help to trace the nose and midface story. The paradigm of existing parallels between ontogeny and phylogeny proves useful both in seeking to understand the holoprosencephalic spectrum of facial malformations (which represent radically different pathways of facial development after the life’s tape has been started to run again) and in formulating hypotheses on chordate to vertebrate evolution. The phylontogenic theory leads to new medical hypotheses on nose and sinus diseases and opens the field of evolution and development-based medicine.
Late Style and its Discontents interrogates the critical cliche of "late style," questioning whether Titian, Beethoven, Goethe and others can usefully be assimilated to one another, as though their particular social and historical circumstances had been transcended by a singular existential predicament.
In der musikalischen Aufführungspraxis ist es normalerweise der Mensch, der das Tempo erzeugt. Innerlich ein Tempo zu etablieren und es an das der mitmusizierenden Personen anzugleichen, ist eine grundlegende musikalische Fähigkeit. Was bedeutet es also, wenn das Tempo von einem technischen System vorgegeben wird? Philippe Kocher unterzieht diese besondere Art der Mensch-Maschine-Interaktion einer musikgeschichtlichen, technikgeschichtlichen und medienarchäologischen Betrachtung. Darüber hinaus entwickelt er innerhalb seiner wissenschaftlich-künstlerischen Studie ein eigenes System zur technikgestützten Tempovermittlung und beschreibt dessen Einsatz in der Praxis.
Reprint of the original, first published in 1876.
In consideration of the remarkable intensity of research in the field of Virtual Acoustics, including different areas such as sound field analysis and synthesis, spatial audio technologies, and room acoustical modeling and auralization, it seemed about time to organize a second international symposium following the model of the first EAA Auralization Symposium initiated in 2009 by the acoustics group of the former Helsinki University of Technology (now Aalto University). Additionally, research communities which are focused on different approaches to sound field synthesis such as Ambisonics or Wave Field Synthesis have, in the meantime, moved closer together by using increasingly consistent t...
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