Why Are My Brownies Crumbly

sound and scientific references




Passante, Bartolomeo (1618-1648) - The Sense Of Hearing
----------------------------------- ------------------------------------------


Pierre Schaeffer in his studies on the perception of sound, distinguished four modes of play, two subjective and two objective:

Hearing (ouir):
perceived through the ear.
The most basic form of perception through which we listen, passively, and so entirely subjective, sounds that do not necessarily have to be deciphered.

Listen (ecouter): Listen
someone or something through a sound, in order to identify a source, a cause, an event.
Sound and objective means of communication of an event.

understand (entender):
through listening (ecouter), selecting what interests extracting it from what you heard (ouir).

understand (comprendre):
objectively Decrypt a message, through sound as a sign and as an expressive language.


"I have heard (ouir), but I have not heard what you said (ecouter), and then I did not understand what I wanted to say (comprendre), not having deciphered what I heard (entender)"

This phrase summarizes the four different scan jobs.


appears certain, unequivocal Therefore, the difference between the simple and subjective hearing and listening, from the purpose of meaning and grasp the reality of content, namely, that sound object.

Our brain analyzes the time, day and night, every type of acoustic stimulation (hearing and listening), a selective and utilitarian holds that those currently considered important, but at the same time by a continuous process of recognition in order to identify ( understand and understand.)

The constant comparison of acoustic stimuli with the experiences and the events associated with them and captured in the memory, determines the evocative capacity of the brain, able to relate to a past event and then transport us to another dimension to the simple occurrence of a note or sound, as could happen with a flavor, a scent or a picture.
The more expressive and coincident with that in mind is the sound you hear, the more spontaneous and more evocative of the play. If

record our voices, all appear to be uniquely our own, except to us that we will be amazed the difference with the tone we think we know.
Our voice travels directly from our lips to the ears of our party, but we, speaking or singing, we perceive not only through our ears, but through vibrations internal to our body and this is the stamp that our brains recognize other than what others perceive.

Listening to the sound of a violin, the brain will then compare what he has in mind as "sound of the violin" and, if the two coincide, recognize it as "violin", the instrument being played.

Not necessarily, however, that in memory there is a natural and realistic sound of the instrument!

In the absence of knowledge of the original sound, the brain may still have acquired a reference through a surrogate such as, for example, a mediocre or excellent plant breeding, or by a synthesis of several reproductions listen on several occasions.

If the listener acquires the sound of musical instruments through reproduction, as paradoxical as it is not unlikely that, listening to the originals, do not recognize them as real because of the cognitive dissonance produced from having scored in their memory the reproduced sound, certainly different from the original. How passionate listeners

plant breeding and we commit unconsciously continue this kind of error.

continuously submitting incorrect reference to the sound patterns of our brain and mental development through creating us further support to the cultural demonstration of the goodness of our acquisitions, often we end up not accepting or fail to recognize the best sound reproduction systems, better tools, recording and generally best solution to listen better when not conform to our sound or culturally acquired patterns.

Improper acquisition of a reference and the construction of a mental habit to support, can culminate to cognitive dissonance, the paradox of rejecting the original event.

Why Are My Brownies Crumbly

sound and scientific references




Passante, Bartolomeo (1618-1648) - The Sense Of Hearing
----------------------------------- ------------------------------------------


Pierre Schaeffer in his studies on the perception of sound, distinguished four modes of play, two subjective and two objective:

Hearing (ouir):
perceived through the ear.
The most basic form of perception through which we listen, passively, and so entirely subjective, sounds that do not necessarily have to be deciphered.

Listen (ecouter): Listen
someone or something through a sound, in order to identify a source, a cause, an event.
Sound and objective means of communication of an event.

understand (entender):
through listening (ecouter), selecting what interests extracting it from what you heard (ouir).

understand (comprendre):
objectively Decrypt a message, through sound as a sign and as an expressive language.


"I have heard (ouir), but I have not heard what you said (ecouter), and then I did not understand what I wanted to say (comprendre), not having deciphered what I heard (entender)"

This phrase summarizes the four different scan jobs.


appears certain, unequivocal Therefore, the difference between the simple and subjective hearing and listening, from the purpose of meaning and grasp the reality of content, namely, that sound object.

Our brain analyzes the time, day and night, every type of acoustic stimulation (hearing and listening), a selective and utilitarian holds that those currently considered important, but at the same time by a continuous process of recognition in order to identify ( understand and understand.)

The constant comparison of acoustic stimuli with the experiences and the events associated with them and captured in the memory, determines the evocative capacity of the brain, able to relate to a past event and then transport us to another dimension to the simple occurrence of a note or sound, as could happen with a flavor, a scent or a picture.
The more expressive and coincident with that in mind is the sound you hear, the more spontaneous and more evocative of the play. If

record our voices, all appear to be uniquely our own, except to us that we will be amazed the difference with the tone we think we know.
Our voice travels directly from our lips to the ears of our party, but we, speaking or singing, we perceive not only through our ears, but through vibrations internal to our body and this is the stamp that our brains recognize other than what others perceive.

Listening to the sound of a violin, the brain will then compare what he has in mind as "sound of the violin" and, if the two coincide, recognize it as "violin", the instrument being played.

Not necessarily, however, that in memory there is a natural and realistic sound of the instrument!

In the absence of knowledge of the original sound, the brain may still have acquired a reference through a surrogate such as, for example, a mediocre or excellent plant breeding, or by a synthesis of several reproductions listen on several occasions.

If the listener acquires the sound of musical instruments through reproduction, as paradoxical as it is not unlikely that, listening to the originals, do not recognize them as real because of the cognitive dissonance produced from having scored in their memory the reproduced sound, certainly different from the original. How passionate listeners

plant breeding and we commit unconsciously continue this kind of error.

continuously submitting incorrect reference to the sound patterns of our brain and mental development through creating us further support to the cultural demonstration of the goodness of our acquisitions, often we end up not accepting or fail to recognize the best sound reproduction systems, better tools, recording and generally best solution to listen better when not conform to our sound or culturally acquired patterns.

Improper acquisition of a reference and the construction of a mental habit to support, can culminate to cognitive dissonance, the paradox of rejecting the original event.

Samsung Un55b6000vf Manual

Truth and collective beliefs


Charles Sanders Peirce

http://it.wikipedia.org/wiki/Charles_Sanders_Peirce


The only goal of the research is the establishment of an opinion.
One might suppose that this is not enough, e che noi andiamo in cerca non meramente di un’opinione, ma di un’opinione vera.
Ma se mettete alla prova questa supposizione, la troverete senza fondamento: infatti, appena raggiungete una salda credenza, siete perfettamente soddisfatti, sia che la credenza sia vera, oppure falsa. [...]
(C. S. Peirce, Il fissarsi della credenza, in C. S. Peirce, Le leggi dell’ipotesi, a cura di M. A. Bonfantini, R. Grazia e G. Proni
----------------------------------------------------------------------------------
----------------------------------------------------------------------------------


Abitualmente ogni fenomeno che non trova una spiegazione logica e certa, viene catalogato secondo l'ipotesi more scientific approaches to the diagnosis of the problem.

This assumption often unproven and often unprovable, it serves to allay the suspicion that nature is an irritant in contrast to the certainty that corresponds to a state of rest instead of the mind.

mental activity naturally creates the irritation of doubt that must be turned off with a belief.

The result of an investigation and then culminates with the formation of an opinion.

Never mind that this view is true, the important thing is to be considered such.

The truth then coincides with what is believed at all times.


Charles_Sanders_Peirce identified four ways to quell the doubt, turn off the irritation and to achieve a belief.


The method of tenacity:

The first, the tenacity, is to resolve our doubts with the first answer imaginable and then stick to it adamantly rejected any possible alternative and turning a blind eye to any evidence which might contradict .
This method, Peirce says, is simple and can at first seem silly, but it contains many positive elements.
This man provides a cheap pleasure which will not be followed by the slightest disappointment, there is the problem not to be rational and in fact will often illusory and the weak human reason.
Peirce suggerisce di lasciarlo pensare come vuole.

　
Il metodo dell'autorità:

La tenacia viene messa in questione quando l'individuo, chiuso nelle sue convinzioni si rende conto che altri individui possiedono altre credenze.
Sorge quindi, al fine di placare il dubbio, l'esigenza di creare e fissare credenze comuni a tutti gli individui.
Mezzi di comunicazione ed ideologie sono al servizio di questa finalità per assicurare la pace sociale, ma a lungo termine anche i più fedeli saranno scossi dal contatto con altre credenze e ricomincerà l'irritazione del dubbio.

　
Il metodo della ragione a priori:

Coltivando il dubbio, gli uomini arriveranno wishing that the fixation of belief is not arbitrary or forced, but arises naturally from the discussion and the free interplay of opinions.
This method, although more advanced, according to Peirce, however, is a method of bankruptcy as it does not really fix the beliefs consistent with the experience but the ones that collectively we are led to believe.
It confuses reality with what they should believe in this rasssicurati from human consensus.


The scientific method:

What is real is an independent opinion.
Science is the only method in which the belief is not made subjectively and arbitrarily, but is adequate intellectual objectivity.
The knowledge produced by science is changeable and imperfect, but it evolves necessarily to the truth.
The review is then replaced by what is real.

------------------------------------------------ ---------------------------


In light of the theories of Pierce, a few questions about the science of music playback


Al purpose of establishing a belief, what, among the four listed above, the research method usually considered and used?

E 'lawful and practicable in terms of sensory perception, apply the scientific method, as advocated by Most of the technicians?

We have enough knowledge in this area or in some aspects of it in order to determine, at least at some point, beliefs and certainties universal?

The aim of the research and the recipient must be a man and his perceptual system or the measuring instrument?



on these questions is interesting to analyze and assess the opinion of Pierre Schaeffer, engineer, theorist, writer, French composer, inventor and father of modern art acousmatic electroacoustic music.



http://fr.wikipedia.org/wiki/Pierre_Schaeffer

http://it.wikipedia.org/wiki/Arte_acusmatica


In contrast with his contemporaries, Schaeffer said that the sound heard is not the simple translation of the electrical signal to the ear.

.................. We can not deny that every sound you hear is conceptually a vibratory phenomenon which occurs in the physical world .....

From this assumption it is not clear, however, the measurability of the quality of the signal, after it gained through the quality of listening.
It 'important to distinguish, according to Schaeffer, the sound signal as a physical and measurable as such machinery, as a sound object from the sound that comes from experience percettiva e qualitativa e quindi non misurabile.
Esattamente come la percezione dei colori va tenuta separata dall'identificazione di questi come lunghezza d'onda.

Il segnale fisico esiste quindi, per Schaeffer, indipendentemente dall'ascoltatore, ma è quest'ultimo che, elaborandolo, lo trasforma in oggetto sonoro.

........E' vero che esiste una "correlazione" fra il segnale fisico ed il suono percepito, ma non per questo l'uno è l'esatta copia dell'altro........

Schaeffer assegna alla psicoacustica il compito di studiare questa correlazione, in particolare i problemi della distorsione (anamorphosis) che si evincono nel delicato passaggio da segnale elettrico a perception, by focusing on the psychology and physiology of the ear of the listener.

ear ........... The active role in building and defining the sound characteristics is demonstrated by the ability to perceive, in certain circumstances, sounds that do not exist in the original signal but which arise from the spectrum of its harmonics ..........

Schaeffer, based on psychoacoustic experiments reported in the third book of "Traité des objects musicaux", then puts into question the "scientific prejudice of his time that the sound identified with the physical quality of the signal, effectively denying the status of science and practice of music playback.

Schaeffer's research culminates in a consideration: the acoustic engineer is faced with two realities, the sound object that listens to the signal that far.
His erroneous point of view leads him to assess the physical signal priority, to consider the play as a result of this evaluation and to consider a manifestation of the sound object.

capitalized Schaeffer accuses the acoustic engineer to forget that:

PROPERTY MAY NOT SOUND 'IN ANY WAY BE rebuilt by the physical signal.

AND 'THE OBJECT SOUND IN ITSELF, obtained from a perceptual process that should lead STUDY The physical signal.


......... "There is no physical principle that allows not only to differentiate but to have the notion of the sound of the letters C, E, G, contained and mixed in three inches of tape ".........

Samsung Un55b6000vf Manual

Truth and collective beliefs


Charles Sanders Peirce

http://it.wikipedia.org/wiki/Charles_Sanders_Peirce


The only goal of the research is the establishment of an opinion.
One might suppose that this is not enough, e che noi andiamo in cerca non meramente di un’opinione, ma di un’opinione vera.
Ma se mettete alla prova questa supposizione, la troverete senza fondamento: infatti, appena raggiungete una salda credenza, siete perfettamente soddisfatti, sia che la credenza sia vera, oppure falsa. [...]
(C. S. Peirce, Il fissarsi della credenza, in C. S. Peirce, Le leggi dell’ipotesi, a cura di M. A. Bonfantini, R. Grazia e G. Proni
----------------------------------------------------------------------------------
----------------------------------------------------------------------------------


Abitualmente ogni fenomeno che non trova una spiegazione logica e certa, viene catalogato secondo l'ipotesi more scientific approaches to the diagnosis of the problem.

This assumption often unproven and often unprovable, it serves to allay the suspicion that nature is an irritant in contrast to the certainty that corresponds to a state of rest instead of the mind.

mental activity naturally creates the irritation of doubt that must be turned off with a belief.

The result of an investigation and then culminates with the formation of an opinion.

Never mind that this view is true, the important thing is to be considered such.

The truth then coincides with what is believed at all times.


Charles_Sanders_Peirce identified four ways to quell the doubt, turn off the irritation and to achieve a belief.


The method of tenacity:

The first, the tenacity, is to resolve our doubts with the first answer imaginable and then stick to it adamantly rejected any possible alternative and turning a blind eye to any evidence which might contradict .
This method, Peirce says, is simple and can at first seem silly, but it contains many positive elements.
This man provides a cheap pleasure which will not be followed by the slightest disappointment, there is the problem not to be rational and in fact will often illusory and the weak human reason.
Peirce suggerisce di lasciarlo pensare come vuole.

　
Il metodo dell'autorità:

La tenacia viene messa in questione quando l'individuo, chiuso nelle sue convinzioni si rende conto che altri individui possiedono altre credenze.
Sorge quindi, al fine di placare il dubbio, l'esigenza di creare e fissare credenze comuni a tutti gli individui.
Mezzi di comunicazione ed ideologie sono al servizio di questa finalità per assicurare la pace sociale, ma a lungo termine anche i più fedeli saranno scossi dal contatto con altre credenze e ricomincerà l'irritazione del dubbio.

　
Il metodo della ragione a priori:

Coltivando il dubbio, gli uomini arriveranno wishing that the fixation of belief is not arbitrary or forced, but arises naturally from the discussion and the free interplay of opinions.
This method, although more advanced, according to Peirce, however, is a method of bankruptcy as it does not really fix the beliefs consistent with the experience but the ones that collectively we are led to believe.
It confuses reality with what they should believe in this rasssicurati from human consensus.


The scientific method:

What is real is an independent opinion.
Science is the only method in which the belief is not made subjectively and arbitrarily, but is adequate intellectual objectivity.
The knowledge produced by science is changeable and imperfect, but it evolves necessarily to the truth.
The review is then replaced by what is real.

------------------------------------------------ ---------------------------


In light of the theories of Pierce, a few questions about the science of music playback


Al purpose of establishing a belief, what, among the four listed above, the research method usually considered and used?

E 'lawful and practicable in terms of sensory perception, apply the scientific method, as advocated by Most of the technicians?

We have enough knowledge in this area or in some aspects of it in order to determine, at least at some point, beliefs and certainties universal?

The aim of the research and the recipient must be a man and his perceptual system or the measuring instrument?



on these questions is interesting to analyze and assess the opinion of Pierre Schaeffer, engineer, theorist, writer, French composer, inventor and father of modern art acousmatic electroacoustic music.



http://fr.wikipedia.org/wiki/Pierre_Schaeffer

http://it.wikipedia.org/wiki/Arte_acusmatica


In contrast with his contemporaries, Schaeffer said that the sound heard is not the simple translation of the electrical signal to the ear.

.................. We can not deny that every sound you hear is conceptually a vibratory phenomenon which occurs in the physical world .....

From this assumption it is not clear, however, the measurability of the quality of the signal, after it gained through the quality of listening.
It 'important to distinguish, according to Schaeffer, the sound signal as a physical and measurable as such machinery, as a sound object from the sound that comes from experience percettiva e qualitativa e quindi non misurabile.
Esattamente come la percezione dei colori va tenuta separata dall'identificazione di questi come lunghezza d'onda.

Il segnale fisico esiste quindi, per Schaeffer, indipendentemente dall'ascoltatore, ma è quest'ultimo che, elaborandolo, lo trasforma in oggetto sonoro.

........E' vero che esiste una "correlazione" fra il segnale fisico ed il suono percepito, ma non per questo l'uno è l'esatta copia dell'altro........

Schaeffer assegna alla psicoacustica il compito di studiare questa correlazione, in particolare i problemi della distorsione (anamorphosis) che si evincono nel delicato passaggio da segnale elettrico a perception, by focusing on the psychology and physiology of the ear of the listener.

ear ........... The active role in building and defining the sound characteristics is demonstrated by the ability to perceive, in certain circumstances, sounds that do not exist in the original signal but which arise from the spectrum of its harmonics ..........

Schaeffer, based on psychoacoustic experiments reported in the third book of "Traité des objects musicaux", then puts into question the "scientific prejudice of his time that the sound identified with the physical quality of the signal, effectively denying the status of science and practice of music playback.

Schaeffer's research culminates in a consideration: the acoustic engineer is faced with two realities, the sound object that listens to the signal that far.
His erroneous point of view leads him to assess the physical signal priority, to consider the play as a result of this evaluation and to consider a manifestation of the sound object.

capitalized Schaeffer accuses the acoustic engineer to forget that:

PROPERTY MAY NOT SOUND 'IN ANY WAY BE rebuilt by the physical signal.

AND 'THE OBJECT SOUND IN ITSELF, obtained from a perceptual process that should lead STUDY The physical signal.


......... "There is no physical principle that allows not only to differentiate but to have the notion of the sound of the letters C, E, G, contained and mixed in three inches of tape ".........

Nutro Printable Coupons

Doctors arts


medici.tv

Integration of all available media, internet, tv, dvd and cd.

standard of excellence, aimed at the promotion and dissemination of classical music.

Playlist available free of charge, upon registration, until September 30

Nutro Printable Coupons

Doctors arts


medici.tv

Integration of all available media, internet, tv, dvd and cd.

standard of excellence, aimed at the promotion and dissemination of classical music.

Playlist available free of charge, upon registration, until September 30