We give a fully polynomial-time randomized approximation scheme (FPRAS) for the number of bases in bicircular matroids. This is a natural class of matroids for which counting bases exactly is #P-hard and yet approximate counting can be done efficiently.

Inhibitory control can be divided into motor and cognitive inhibition. The current research is the first study exploring the impact of brief mindfulness training on motor inhibition, measured by a stop signal task in participants without any meditation experience. Motor inhibition performance was compared before and immediately after three different conditions; a brief mindfulness induction, a resting state and an active control session in which participants listened to their favorite music. Post-test learning effect on go-reaction times was seen for the resting and mindfulness conditions, but was absent in the music session, possibly due to emotional arousal might have led slower responses. Brief mindfulness training did not significantly alter inhibitory control, although marginal improvement in stop signal reaction time following the mindfulness induction was observed. Motor inhibition appears unresponsive to either short-term or long-term mindfulness practice. Future mindfulness studies should explore a broad spectrum of cognitive functions and populations.

The three-continuation approach to coroutine pipelines efficiently represents a large number of connected components. Previous work in this area introduces this alternative encoding but does not shed much light on the underlying principles for deriving this encoding from its specification. This paper gives this missing insight by deriving the three-continuation encoding based on eliminating the mutual recursion in the definition of the connect operation. Using the same derivation steps, we are able to derive a similar encoding for a more general setting, namely bidirectional pipes. Additionally, we evaluate the encoding in an advertisement analytics benchmark where it is as performant as pipes, conduit, and streamly, which are other common Haskell stream processing libraries.

Flood and drought events cause significant freshwater inflow fluctuations in estuaries, potentially leading to physiological stress and altered abundances of pathogens such as Vibrio vulnificus and Perkinsus marinus in oysters. To assess the effects of freshwater pulses to oyster reefs in subtropical estuaries in Texas, this study accomplished two goals: 1) reconstructed a reef-specific history of freshwater pulses through shell stable isotope analysis, 2) quantified the abundance of V. vulnificus and P. marinus through culture-dependent and culture-independent microbiology analyses. Oysters from a low-relief and high-relief reef experienced similar fluctuations in shell isotopes, indicating similar ranges of past environmental conditions. V. vulnificus and P. marinus were detected throughout the study but the abundance of these microorganisms was not correlated with environmental parameters or one another. Importantly, the P. marinus infection intensity was always lower at the high-relief reef, which suggests that high-relief reefs may experience lower infection frequencies.

This paper deals with design of an alternative secure Blockchain network framework to prevent damages from an attacker. The alliance concept from the strategic management perspectives is applied on the top of a general stochastic game framework. This new enhanced hybrid theoretical model is designed to find the best strategies toward preparation for preventing a network malfunction from an attacker through strategic alliances with other genuine nodes and it is developed based on the combination of a strategic management framework and a conventional stochastic model based on the Blockchain Governance Game. Analytically, tractable results for decision-making parameters are fully obtained to predict of the moment for operations and also to provide the optimal number of allegiance nodes to protect a Blockchain network. This research helps those whom are considering initial coin offering or launching new Blockchain-based services by enhancing security features through strategic alliances in a decentralized network.

What takes place in the minds of composers when they struggle to incorporate a given temporal concept into a musical work? Spectral composers have produced detailed theoretical proposals about time in music, but how exactly those ideas influenced their musical practices remains an extremely challenging question. Graphical representations in their sketches provide invaluable clues. Through the analyses of Gérard Grisey’s and Kaija Saariaho’s manuscripts, we show how the theoretical frameworks for the basic cognitive operations of blending and anchoring, which underlie the construction of complex meanings, can shed light on the intricate musical uses of timelines by spectral composers. We combine the universal claims of this cognitive analysis with the diachronic perspective of a musicological study, teasing out the mental paths that these composers may have followed to create novel aesthetic proposals from their experience with graphic representations of sound, mainly spectrograms, and from techniques of electroacoustic studios. Thus we pave the way towards a common language for understanding time representation across electroacoustics and music in general, based on this mixed methodology. Through such shared tenets, the cognitive study of music can reciprocally contribute to burgeoning fields such as time representation, meaning construction and creativity.

This article explores timescales within absolute and psychological times, and identifies the many factors that affect our perception of time passing and estimation of durations, which inevitably influence our perception of musical structures; in particular, it discusses listening experiences, and theoretical approaches to psychological states and emotional responses. It proposes a process according to which the time-influencing factors operate between listener and music. The discussion is approached through the lens of the electroacoustic composer and makes references to short excerpts from the author’s work and related repertoire. However, as the article discusses time in relation to sound structures, it is also relevant to other time-based sound art and music.

A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, think in the future – their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s theory of mimesis is helpful in analysing this dialogical mechanism through the notion of ‘temporal configuration’. By drawing on this theoretical framework, I interviewed five composers in order to make explicit the imbrication of the composer’s and listener’s temporalities in the musical work. This exploratory inquiry allowed for a concrete analysis, articulated in the words of the composers, of how they conceive the relationship between their compositional temporality and that expressed by their work.

This article describes an innovative compositional method based on the use of a sonic time-lapse algorithm to create soundscape audio montages. The method is based on the superposition of short audio samples of 24-hour continuous field recordings carried out in various kinds of wildlife sonic environments. The optimisation of the algorithm focused on the enhancement of gradual crossfade transitions between recorded samples and the use of variable sample durations as a way of recreating a natural sense of evolution of sonic events in time. Future developments of the project will integrate virtual reality interfaces and environmental education projects as part of the time-lapse algorithm machine-learning techniques and also creative tools suitable for multimedia installations.

This article concerns the temporal experience of acousmatic music, how the music can impact a listener’s sense of time passing and the implications of memory and expectations of auditory events and their perceived connections to one another. It will outline how memory and schemas lead to predictions in the immediate future and larger expectations of a work’s form. An overview of the temporal listening framework for acousmatic music will be provided to show the interrelationship between memory and expectations and how they influence one’s listening focus in the present. Trevor Wishart’s Imago will be used to illustrate how one might compose an acousmatic work to promote active listening using compositional techniques that engage personal schemas and those built through the course of experiencing the piece.

By way of a multidisciplinary approach, this article advances the idea that our listening to certain practices of contemporary art music (electroacoustic, classical contemporary, and electronic music) relies on precise connections to the early stage of perception. These styles of music are characterised by essential sound configurations that evolve in time, thus eliciting a sensorial impact which transcends features regarding sound sources and affective responses. Listeners grasp what Scruton calls ‘pure events’ in a ‘world of sound’, being able to distinguish, separate and sort acoustic stimuli. The article establishes a key parallel among seminal works of Bregman, McAdams, Kubovy, Bayle and other authors, highlighting a fundamental agreement of perceptual studies in psychology, neurophysiology and musicology for the understanding of the early stage of sound perception. Music practices typical of this perspective develop certain sound configurations, such as figure/ground arrangements, recurrent elements and morphological distinction, that closely mirror our innate mechanisms of prediction in perception. A parallel is made between studies in the philosophy of perception and the neurophysiology which allows us to postulate the idea that these styles of music are essentially based on pure temporal proto-objects.

‘Rhythm’ is often equated with ‘metered pulse’; as the latter is often eschewed by contemporary music, including acousmatic music, this is often assumed to mean an absence of rhythm. This article proposes that, in fact, acousmatic music does indeed contain rhythmic qualities, and further, that rhythm is one of the dominating forces of acousmatic music, even when pulse or metre at first glance appear to be lacking. This stems from the roots of acousmatic philosophy in phenomenology and a steady focus on our experience of the world around us. Importantly, this points simultaneously towards rhythmic qualities of our environment and towards rhythmic qualities of our embodied experience of that world, due to rhythmic aspects of our bodies, our perception and our cognitive faculties.

Electroacoustic music and its historical antecedents open up new ways of thinking about musical time. Whereas music performed by humans is necessarily constrained by certain temporal limits that define human information processing and embodiment, machines are capable of producing sound with scales and structures of time that reach potentially very far outside of these human limitations. But even musics produced with superhuman means are still subject to human constraints in music perception and cognition. Focusing on five principles of auditory perception – segmentation, grouping, pulse, metre and repetition – we hypothesise that musics that exceed or subvert the thresholds that define ‘human time’ are likely to be recognised by listeners as expressing timelessness. To support this hypothesis, we report an experiment in which a listening panel reviewed excerpts of electroacoustic music selected for their temporally subversive or excessive properties, and rated them (1) for the pace of time they express (normative, speeding up, or slowing down), and (2) for whether or not the music expresses ‘timelessness’. We find that while the specific musical parameters associated with temporal phenomenology vary from one musical context to the next, a general trend obtains across musical contexts through the excess or subversion of a particular perceptual constraint by a given musical parameter on the one hand, and the subjective experiences of time and timelessness on the other.

This article aims to elaborate Horacio Vaggione’s theoretical approach towards electronic music composition and his understanding of the musical structure, and to discuss how some of his key concepts come into presence during the compositional experience of temporality. Following the introduction of object-oriented composition and musical networks, I will discuss the concept of morphology alongside an investigation of how these ideas relate to temporality. In addition to this inquiry, I will briefly explore the possibilities of an ontological discussion on Vaggione’s compositional mindset and how his temporal perspective differs from some of his colleagues.