This article examines the work of the composer Michelle Lou through its affective and formal mechanisms. I propose that Lou’s work has consistently retained a fundamental and specific orientation towards the listener, which I describe as distance or proximity. In addressing three works spanning eight years – Opening (2008), untitled three-part construction (2014) and HoneyDripper (2016) – I show how the idea of distance informs and is articulated through orchestration, gestural and phrasal construction, scenography and form, and thus frames one’s experience of sound, spatiality, memory, time and perception. While the sounds and materials employed by Lou are often formally cold and sonically abrasive, I argue that her work ultimately implicates and invites the listener in as a crucial element of its sonic ecology, even enacting a sort of phenomenological care over the listener.

In this article we present the results of two geophysical surveys conducted at Cahokia Mounds State Historic Site. The goal was to reveal neighborhood settlement patterns at two locales located on the periphery of “Downtown” Cahokia—the densely populated administrative core—and to further understand the type and chronological affiliation of these settlements. We compared structure length and width ratios from Rattlesnake West and the Rouch Mound Group with datasets from the Cahokia and East St. Louis precincts as a proxy for chronological affiliation to understand changes to neighborhood density over time. Using noninvasive techniques to illuminate population density and neighborhood configurations, we gained a more detailed understanding of how Cahokia's communities and neighborhoods chose to adopt the building style and infrastructure of Cahokia's Downtown Precinct.

This article classifies individual lexemes in Chinese dialects into four categories: popular, learnèd, colloquial, and literary. Popular and learnèd refer to the origins of a word: whether it has been transmitted orally or learned in an educational context. Colloquial and literary refer to usage. The traditional Chinese terms for distinguishing character readings, wén 文 and bái 白, literally ‘written’ and ‘spoken’, do not correspond neatly to the four categories that are proposed here. This article illustrates the differences between all six terms, mainly by using standard Mandarin and Běijīng dialect, and secondarily by using words from Mĭn and other dialects.

An exploration of the ethical issues surrounding assisted dying, in the form of a dialogue.

Egon Wellesz’s Eastern Elements in Western Chant (1947, repr. 1967) is outdated but topical in that the resemblances he adduced between Eastern and Western chant continue to invite explanations. An assessment of his book and research since then on the topics of simple vs. complex melody, melodic resemblance, historical frameworks, musical communities and Semitic antecedents of Christian chant lead to the conclusion that the comparative study of medieval Christian chant repertories and of Jewish melodies from post-medieval sources cannot be shaped by simplistic assumptions, such as that simpler melodies are earlier or more primitive than more complicated ones, or that Christian practices must have had Jewish origins. Nor can melodies that resemble each other be assumed to be historically related. Studies of oral traditions show that what is transmitted is often a more abstract contour that can be realised in more than one way. Most importantly, no music can be studied apart from the community that makes or made it, and musical evidence must be interpreted within a framework of verifiable historical fact, especially when contacts between different communities are alleged.

This re-evaluation of the work of Karlheinz Stockhausen is presented as a dialogue between its authors, conducted by email between July and October 2024. The dialogue takes as its starting point a consideration of the continuing relevance of Stockhausen’s music to music today, but begins by tracing the authors’ engagement with this music over the last five decades. The dialogue moves on to the discussion of a series of key aspects of Stockhausen’s work across his creative life, from Kreuzspiel to KLANG: the relationship between his electronic music and his compositional practice for acoustic instruments; form-schemes in his music and, in particular, the development of moment form; and his use of synthesisers. In conclusion, the authors assess Stockhausen’s influence on their own work and the extent of his significance for younger generations of musicians.

Scholars studying cosmic conflict in the book of Revelation primarily focus on chapters 12–14, while the letters to the seven churches are often overlooked. In this article I demonstrate the presence of key elements of cosmic conflict in the letters to the seven churches, with a particular focus on the letter to the church in Smyrna (Rev 2:8–11). I identify the main facets of spiritual warfare, such as Jesus Christ versus the devil; Christians versus Jews/Romans; and victory/life versus defeat/death. I conclude that this passage contributes to the military narrative of cosmic conflict in the Apocalypse.

In this short piece, I invite readers to think about whether expertise is something as real as trees and mountains, or whether it is our own creation as a society. I discuss the challenges that a purely social view of expertise raises: inconsistent relativism, contradictions, frauds, epistemic and social anarchy. As a way out of these difficulties, I suggest that we must opt for an objective take on expertise. Of course, possessing expertise is relative in the sense that it is a consistent relational property between various levels of expertise. However, this relation is ‘objective’. It is an ‘objective relational property’. Taking this realist view on expertise can shed light on some difficulties, such as the expertise status of Newton in comparison to contemporary physicists and the English proficiency of native English speakers compared to monolingual non-English speakers.

A common and unfortunate error in statistical analysis is the failure to account for dependencies in the data. In many studies, there is a set of individual participants or experimental objects where two observations are made on each individual or object. This leads to a natural pairing of data. This editorial discusses common situations where paired data arises and gives guidance on selecting the correct analysis plan to avoid statistical errors.

The widespread deployment of artificial intelligence (AI) and machine learning tools has created a shift in knowledge culture. The marginalisation of slower, more traditional modes of engagement for quantifiable data easily parsed by mathematical algorithms has resulted in prioritising proprietary or opaque datasets (knowledge) explicitly constructed with measurable parameters. Well-documented concerns persist regarding the narrow range of human data used by algorithmic tools, data that arguably encapsulates the many failures of human society. The inevitable result of the use and priority of this data, alongside very particular notions of value and what is valuable, is a replication of many of the foibles of our history as a species.

Cultural practice in general necessitates the communication of what drives our hopes and underlies our experiences. In algorithmic times we can see that this kind of communication supports some of the many critiques of AI and machine learning already extant in activist circles. Through investigating some of the theoretical backgrounds of this resistance, this article uses the first iteration of HEXORCISMOS’S SEMILLA AI project and the resulting album release as one of the many possible ways in which we might use machine learning and AI tools alongside very deliberate and uplifting models of community and community building.