Saturday, September 27, 2008
Friday, September 26, 2008
Classical conditioning in terms of Hebb's postulate.
Ever since Ivan Pavlov's research at the turn of the last century demonstrated conditioned reflexes, we have had strong evidence that certain cues can trigger responses via conditioned association. But can these behavioral understandings be reduced to supervene upon neurological notions?
As Ivan Pavlov researched the digestion of dogs from a physiologists point of view, he came to understand psychological notions we take as canonical. He provided dogs with meat powder to initiate salivation. Soon, he realized the lab technician in the dog's presence alone would cause the dogs to salivate. He prompted the dogs with a number of subsequent cues: bells, whistles, metronomes, as well as environmental visual stimuli along with the meat powder, only to recreate the salivation response with the cue sans meat powder. Thus we have derived notions of classical conditioning in which an unconditioned, natural stimulus in simultaneous occurrence with another stimulus can condition the latter stimulus to evoke the same natural response as the former, natural stimulus.
In the late 40s, Donald Hebb provided his theory on neural networks and the biological process of living nervous systems. His theory consisted in positing notions of synaptic plasticity, which describes the change in strength between neural connections. Often, Hebb's postulate is summarized as "cells that fire together, wire together." Or, a presynaptic cell A, which consistently fires with postsynaptic cell B, will consistently increase in strength. This notion has been instrumental in understanding neural networks as memory hypotheses and learning called Hebbian learning. When seen on a general scale, this process seems not unlike the model of classical conditioning described above.
As Ivan Pavlov researched the digestion of dogs from a physiologists point of view, he came to understand psychological notions we take as canonical. He provided dogs with meat powder to initiate salivation. Soon, he realized the lab technician in the dog's presence alone would cause the dogs to salivate. He prompted the dogs with a number of subsequent cues: bells, whistles, metronomes, as well as environmental visual stimuli along with the meat powder, only to recreate the salivation response with the cue sans meat powder. Thus we have derived notions of classical conditioning in which an unconditioned, natural stimulus in simultaneous occurrence with another stimulus can condition the latter stimulus to evoke the same natural response as the former, natural stimulus.
In the late 40s, Donald Hebb provided his theory on neural networks and the biological process of living nervous systems. His theory consisted in positing notions of synaptic plasticity, which describes the change in strength between neural connections. Often, Hebb's postulate is summarized as "cells that fire together, wire together." Or, a presynaptic cell A, which consistently fires with postsynaptic cell B, will consistently increase in strength. This notion has been instrumental in understanding neural networks as memory hypotheses and learning called Hebbian learning. When seen on a general scale, this process seems not unlike the model of classical conditioning described above.
Tuesday, September 23, 2008
A cinema of patience
Recently, spawned by my increasing disdain for Criterion releases of "important classic and contemporary films on dvd," I find it necessary to propagate information regarding the many film works forgotten or neglected by so many. While Criterion is more than happy to commit the Beastie Boys anthology to their presses, it is unfathomable that they skip over some truly landmark and avant garde filmmaking.
Sergei Eisenstein changed the face of film. His theory of montage and juxtaposition of images laid the groundwork for filmmakers since. His theorizing laid the groundwork to make film-making and directing an artform via manipulation and control over the process. However, aside from this Eisensteinian hegemony, there is a legacy of rebels who have rejected this style and approach.
André Bazin's theory of film stands diametrically opposed to Eisenstein. Stressing the continuity of film, Bazin posited the use of deep focus, wide framing, and long takes caused the director to relinquish his/her prominence to allow the viewer's attention and interpretation to take over. Somewhere between Eisenstein and Bazin, film-makers have found a niche worthy of their exploits.
The most noteworthy proponent of this innovative style is the Russian director Andrei Tarkovsky. Tarkovsky's entire corpus of work is considered notable and in due course, he is by some deemed among the greatest directors in film history. (He, for one, does have Criterion releases, however it is instrumental that I start by referencing his work to make my point.) His films often used extremely long camera takes along with particularly novel uses of color and black and white imagery (-it is a digression, but he viewed color film as a "commercial gimmick" and arbitrary if not a distraction when it wasn't used with particular intent). Film, for Tarkovsky, is an interface with an imaginary world wherein he aimed at taking advantage of the markings of spatio-temporalality. As a medium by which we can manipulate a representation of the world, he utilized long takes to convey time passing and panning (often in 360 degrees) to display spatial relations.
One of Tarkovsky's contemporary's from Hungary, Miklós Jancsó, also brought a great deal to cinema in his work of the 1970s. I would submit Szerelmem, Elektra ("Electra, my love") as exemplar of this film style. From 1974, it is an impressionistic film about Electra, daughter of Agammemnon, of Greek mythos, the subject of Sophoclean/Euripidean Greek tragedies. Its heavy stylization brings the choreography to such prominence, the film could pass as a bizarre ballet. Not only are the actors choreographed, but elaborate camera movements are as well (tracking and craning galore) in which he used only 12 shots to complete the 70 minute feature.
Alexander Sokurov received a great amount of critical acclaim in 2002 with Russian Ark a 90 minute feature filmed with a single uncut steadicam take. To some this could be an easy feat with one actor and a stationary camera, but it might be noted that the film ventures through 33 rooms of the Winter Palace in Saint Petersburg and has a cast of over 2,000.
In addition to Sokurov, the films of the extant Hungarian director Béla Tarr are quintessential works of this variety. His mature style began with the release of Kárhozat ("Damnation") in 1988 and he is continuing the tradition. Inside the Facets Video release of his dvds there is a booklet entitled Bela Tarr: a cinema of patience, so it is clear that his work isn't for everyone. If you have the patience, you'll be rewarded by some amazing feats of film. Some of his shots clock in at over ten minutes and purportedly can take over a month to perfect. Considered to be his masterwork, Sátántangó, runs 450 minutes (7 1/2 hours) and took him 7 years to realize. He's mastered the mood of a harrowing despondence, in spite of which brought him some critical acclaim with Werckmeister harmóniák ("Werckmeister Harmonies") released in 2000. His films aren't the most accessible and I wouldn't recommend him for the feel good flick of the Fall, so take note this is for one who fancies himself/herself a true cinéaste.
Anyhow, Tarr has a new film completed last year and supposedly released worldwide this year, but being the recluse I am, I haven't been able to track down The man from London.
Sergei Eisenstein changed the face of film. His theory of montage and juxtaposition of images laid the groundwork for filmmakers since. His theorizing laid the groundwork to make film-making and directing an artform via manipulation and control over the process. However, aside from this Eisensteinian hegemony, there is a legacy of rebels who have rejected this style and approach.
André Bazin's theory of film stands diametrically opposed to Eisenstein. Stressing the continuity of film, Bazin posited the use of deep focus, wide framing, and long takes caused the director to relinquish his/her prominence to allow the viewer's attention and interpretation to take over. Somewhere between Eisenstein and Bazin, film-makers have found a niche worthy of their exploits.
The most noteworthy proponent of this innovative style is the Russian director Andrei Tarkovsky. Tarkovsky's entire corpus of work is considered notable and in due course, he is by some deemed among the greatest directors in film history. (He, for one, does have Criterion releases, however it is instrumental that I start by referencing his work to make my point.) His films often used extremely long camera takes along with particularly novel uses of color and black and white imagery (-it is a digression, but he viewed color film as a "commercial gimmick" and arbitrary if not a distraction when it wasn't used with particular intent). Film, for Tarkovsky, is an interface with an imaginary world wherein he aimed at taking advantage of the markings of spatio-temporalality. As a medium by which we can manipulate a representation of the world, he utilized long takes to convey time passing and panning (often in 360 degrees) to display spatial relations.
One of Tarkovsky's contemporary's from Hungary, Miklós Jancsó, also brought a great deal to cinema in his work of the 1970s. I would submit Szerelmem, Elektra ("Electra, my love") as exemplar of this film style. From 1974, it is an impressionistic film about Electra, daughter of Agammemnon, of Greek mythos, the subject of Sophoclean/Euripidean Greek tragedies. Its heavy stylization brings the choreography to such prominence, the film could pass as a bizarre ballet. Not only are the actors choreographed, but elaborate camera movements are as well (tracking and craning galore) in which he used only 12 shots to complete the 70 minute feature.
Alexander Sokurov received a great amount of critical acclaim in 2002 with Russian Ark a 90 minute feature filmed with a single uncut steadicam take. To some this could be an easy feat with one actor and a stationary camera, but it might be noted that the film ventures through 33 rooms of the Winter Palace in Saint Petersburg and has a cast of over 2,000.
In addition to Sokurov, the films of the extant Hungarian director Béla Tarr are quintessential works of this variety. His mature style began with the release of Kárhozat ("Damnation") in 1988 and he is continuing the tradition. Inside the Facets Video release of his dvds there is a booklet entitled Bela Tarr: a cinema of patience, so it is clear that his work isn't for everyone. If you have the patience, you'll be rewarded by some amazing feats of film. Some of his shots clock in at over ten minutes and purportedly can take over a month to perfect. Considered to be his masterwork, Sátántangó, runs 450 minutes (7 1/2 hours) and took him 7 years to realize. He's mastered the mood of a harrowing despondence, in spite of which brought him some critical acclaim with Werckmeister harmóniák ("Werckmeister Harmonies") released in 2000. His films aren't the most accessible and I wouldn't recommend him for the feel good flick of the Fall, so take note this is for one who fancies himself/herself a true cinéaste.
Anyhow, Tarr has a new film completed last year and supposedly released worldwide this year, but being the recluse I am, I haven't been able to track down The man from London.
Monday, September 22, 2008
He II at the LHC
I was mulling over aspects of the Large Hadron Collider after having read some time ago that for superconducting conditions, the optimal operating temperature for the magnets is at 1.9 degrees Kelvin. In order to reach this temperature, 96 metric tonnes of liquid helium is used. However, the lambda point for helium lies at 2.17K, meaning that the helium would most likely be cooled into the superfluid helium II. When helium is in the phase of superfluidity, it has a viscosity of 0 and seemingly defies the laws of gravity (due to the Onnes effect). Further, they have interesting thermal conductivity properties wherein boiling is impossible, rather evaporating straight to gas and typical heat diffusion is not present but rather a phenomenon known as second sound. Second sound is named thus due to the conduction of heat displaying a wave form similar to the travel of sound waves. Recently there was a transformer malfunction where the temperature became unstable. Basically, I wonder if and how CERN has to go about handling such a volatile substance without it creeping about and evaporating into thin air. While there are abounding fears of black holes to swallow the Earth on account of the LHC operations, the advent of a helium leak would deplete oxygen and could be harmful or even fatal to the CERN staff.
EDIT:
Excerpt from Wired Science article on 9/23...
"On Sept. 18, the news from CERN, the organization that runs the LHC, was that an electrical problem involved with a cooling system caused a helium leak that would keep the mammoth particle accelerator out of commission for a day or so. A couple of days later, the estimate had stretched into two months: The machine would need to be warmed back up, which will take three to four weeks, before a full investigation could be done."
EDIT:
Excerpt from Wired Science article on 9/23...
"On Sept. 18, the news from CERN, the organization that runs the LHC, was that an electrical problem involved with a cooling system caused a helium leak that would keep the mammoth particle accelerator out of commission for a day or so. A couple of days later, the estimate had stretched into two months: The machine would need to be warmed back up, which will take three to four weeks, before a full investigation could be done."
Sunday, September 21, 2008
Mycological bioremediation
Paul Stamets is perhaps one of the world's foremost mycologists. Here he discusses how various mushrooms and fungi can be employed to break down common ecological contaminants.
Here is the full TED talk:
Or the "blogger's digest" version:
Here is the full TED talk:
Or the "blogger's digest" version:
Homemade musical instruments
Mark Deutch's Bazantar
This guy looks like a total pervert that would die to hang out with Steven Seagal for a day, but I must say I'm pretty impressed.
The Kora and Toumani Diabate
The kora may not be such a unique instrument, but the tradition of hand-making them (as shown in the video) I thought warranted its inclusion here. Diabate's virtuosity is a great representation of how much potential the kora has in western art music. While I've heard/seen his "improvisation" a number of times, I find his music very much worth keeping on the radar.
Dennis Havlena's homemade/home-modified instruments
This guy is a legend in creating and modifying instruments. From the propane tank hang drum to his guitar-cum-hurdy gurdy, he has made some really cool stuff.
This guy looks like a total pervert that would die to hang out with Steven Seagal for a day, but I must say I'm pretty impressed.
The Kora and Toumani Diabate
The kora may not be such a unique instrument, but the tradition of hand-making them (as shown in the video) I thought warranted its inclusion here. Diabate's virtuosity is a great representation of how much potential the kora has in western art music. While I've heard/seen his "improvisation" a number of times, I find his music very much worth keeping on the radar.
Dennis Havlena's homemade/home-modified instruments
This guy is a legend in creating and modifying instruments. From the propane tank hang drum to his guitar-cum-hurdy gurdy, he has made some really cool stuff.
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