bluuebunny/crossref_metadata_2025_split huggingface dataset:
Constructive Type Theory, An Appetizer
Authors: Crosilla Laura 
Published: March 2024

Abstract
Recent debates in metaphysics have highlighted the significance of type theories, such as Simple Type Theory (STT), for our philosophical analysis. In this chapter, I present the salient features of a constructive type theory in the style of Martin-Löf, termed CTT. My principal aim is to convey the flavour of this rich, flexible and sophisticated theory and compare it with STT. I especially focus on the forms of quantification which are available in CTT. A further aim is to argue that a comparison between a plurality of theories is beneficial to the philosophical analysis. We may, for example, discover helpful features of one theory that we may want to import into another context, thus enriching our repertoire of formal tools. Or, through comparison with a less well-known theory, we may gain a better understanding of the characteristics of the theories we are familiar with. As argued in this chapter, CTT has much to offer in all of these respects.
Ordinary Language Meets Higher-Order Quantification
Authors: Rini Adriane 
Published: March 2024

Abstract
Arthur Prior is something of an enigma in that he was both a logician and in many ways also an ‘ordinary language’ philosopher. This chapter is an investigation of Prior's treatment of higher-order quantification. Prior's view of logic means that almost certainly he would not have been interested in many of the questions which are important to those who study higher-order logic. We shall see how his own analysis emphasises what he sees as a trade-off between abstract entities and parts of speech. The chapter presents evidence for this through an examination of Prior's writings on the topic.
Introduction to Performing Time
Authors: Wöllner Clemens , London Justin 
Published: March 2024

Abstract
Dance and music afford experiences of speed or slowness, of emotionally loaded and filled time, of synchronized togetherness, of groove, flow, and even timelessness. While time cannot be perceived directly, the manipulation of time and temporal experience is one of the aesthetic goals of the performing arts. Whether as performers or audience, there are numerous parallels to our experiences of time in other everyday contexts, and music and dance are able to sharpen, reshape and transcend our daily temporal engagements. This introduction surveys some of the epistemological and methodological peculiarities of time research, presents arguments for the joint investigation of time in the context of music and dance, and provides an overview of this volume’s organization and chapter contents.
Varieties of Musical Time
Authors: Kozak Mariusz 
Published: March 2024

Abstract
Music and time seem to be intimately linked, leading Jonathan Kramer in 1988 to posit that music ‘becomes meaningful in and through time’. Such sentiment permeates music-theoretical literature, which is addressed in this chapter. The chapter looks at music’s temporality through three ontological lenses: (a) objective time, (b) subjective time, and (c) lived time. Each perspective reveals preoccupations with different aspects of music, including its status as an object, its capacity to create narratives and physical/emotional trajectories, its myriad functions in cultural practices, and even its role as a model for dynamical processes that characterize patterns of human behaviour. Not limited to issues of rhythm and metre, studies of musical time thus extend beyond sonic realities to encompass the constitution of human subjectivity and agency, both at individual and societal levels.
The Psychological Underpinnings of Feelings of the Passage of Time
Authors: Droit-Volet Sylvie , Martinelli Natalia 
Published: March 2024

Abstract
When listening to music or dancing, it is felt that time passes more quickly than usual. The feeling of an acceleration or a slowing down of the passage of time (PoT) is common. However, there are very few experiments on this temporal feeling. In addition, the few data on the subject are contradictory because of the variety of meanings that this judgement can encompass. The aim of this chapter is to define the different forms of judgement of the PoT according to the period considered and the underlying psychological mechanisms. Four types of PoT judgement are then distinguished: the retrospective PoT judgements for the long periods of life (5–10 years, as we get older) and those for the shorter periods (last week, last month), and the PoT judgements for the present, made either retrospectively (present PoT judgement) or prospectively (PoT judgement of durations).
Telling Time
Authors: Conroy Renee M. 
Published: March 2024

Abstract
There is a recognized difference between how dancers, dancemakers, and audience members conceive of and experience time in a live dance art performance. What are the implications of this perspectival gap? How do choreographers both reveal and exploit it in their creative products? This chapter outlines basic differences between three forms of ‘danced time’: projective, kinetic, and reflective. These are articulated in terms of visual pacing (from the audience’s perspective), physical pacing (from the dancer’s point of view), and artistic pacing (from the creator’s outlook). It also explores the distinction between ‘danced time’ and ‘clock time’ and develops two concepts focused on perspectival discontinuities: temporal disconnect and temporal dissonance. The nature and artistic importance of these distinctions is analysed by appeal to three danceworks: Daniel Nagrin’s Indeterminate Figure, Merce Cunningham’s Walkaround Time, and Jérôme Bel’s Véronique Doisneau.
Preferred Tempo and Its Relation to Personal and Shared Senses of Time and Temporal Flow
Authors: Henry Molly J. , Kotz Sonja A. 
Published: March 2024

Abstract
One’s personal sense of time stretches and shrinks depending on context, contributing to what is here called ‘temporal flow’, the experience of time’s passing as it passes. This chapter focuses on two dimensions of personal time sense and temporal flow. The first is experiential: can one’s personal sense of time be shared with others? What forms of interpersonal coupling are more or less likely to support shared time sense with another person? In particular, the chapter examines the potential influence of preferred tempo on one’s personal sense of time. It proposes that the likelihood that time senses merge depends on the similarity of the preferred tempo rates of the interacting individuals, as well as the level of coupling experienced by the individuals. The second is methodological: how can personal sense of time be measured and quantified? What are the measurable versus unmeasurable aspects of personal time sense? In addition, the chapter discusses how to develop a neuroscience of shared personal time and temporal flow, and what pitfalls should be avoided while doing so.
Time Through the Magnifying Glass of Slowness
Authors: Joufflineau Coline 
Published: March 2024

Abstract
In recent years, slowness has become a major choreographic trend in Western dance. What are the experiences of time lived by spectators and dancers in slow dances? This chapter focuses on the perception and production of extreme slowness in the work of the French choreographer Myriam Gourfink. Combining the subjective reports of the spectators and cognitive tasks of temporal perception, it appears that slowness induces temporal experiences other than the mere feeling that time passes slowly. On the dancers’ side, the extreme slowness corresponds retrospectively with a very strong contraction of the objective duration of the choreography, and while dancing, the slowness of the movement seems inversely proportional to the internal speeds experienced by the dancers. Reports from spectators and dancers support the idea that time perception is intimately linked to the sense of self and that interoceptive focus plays a major role in changes in time perception.
How Long Is 10 Minutes? Exploring Spatiotemporality With a Group of Musicians and Dancers
Authors: Jensenius Alexander Refsum 
Published: March 2024

Abstract
How does it feel to stand still in silence with others for 10 min at a time? This chapter reports on a study of a small group of musicians and dancers that used standstill as their regular ‘warm-up’ activity over a year of working together. Motion capture data of the sessions reveal that each individual’s quantity of motion remained similar over time, but self-reports indicate that the subjective experience of time and space changed radically. The participants developed a high spatiotemporal sensitivity and reported an increase in well-being after a year of standstill. They also reported that a 10-min standstill helped with the mental preparation before both micromotion and regular performances.
Spontaneous Motor Tempo
Authors: Hammerschmidt David 
Published: March 2024

Abstract
This chapter introduces the reader to the spontaneous motor tempo (SMT), which describes the tempo of self-paced regular and repeated movements. It is typically measured with a finger-tapping paradigm, tapping isochronally at the pace that feels most natural and comfortable in that moment. The SMT plays an important role for perceptual and rhythmic motor behaviours, since it can be regarded as an estimate of the intrinsic timekeeper (i.e. internal clock). In line with this, empirical findings suggest that the SMT speeds up with higher arousal, slows down with age, and fluctuates over the course of a day, probably reflecting the 24-hr cycle of the biological clock (circadian rhythm). The most important studies that have investigated these factors, along with the potential influence of musical experience, are summarized and discussed within the theoretical frameworks of prevalent models in the psychophysics of time.
An Embodied Perspective on Rhythm in Music–Dance Genres
Authors: Haugen Mari Romarheim 
Published: March 2024

Abstract
The experience of musical rhythm involves the interaction between sonic rhythm and endogenous reference structures, most especially meter. Periodic dance movements and body motions such as foot stamping, head nodding, and body swaying are often considered to be externalizations of those reference structures. This chapter argues that such meter-related body motions fill more than this rather subordinate role—they are the means through which we both learn and shape meter. In other words, musical meter is intrinsically related to motion. The author develops this view via music genres in which music and dance have developed under conditions of mutual influence, or what they have elsewhere labelled music–dance genres. For cultural insiders, the experience of rhythm in music–dance genres derives directly from an existing understanding of the corresponding dance.
Time and Synchronization in Dance Movement
Authors: Burger Birgitta , Toiviainen Petri 
Published: March 2024

Abstract
Humans have the ability to physically synchronize when moving and dancing to music. While synchronization has been extensively studied using finger-tapping paradigms, much less research has tackled whole-body synchronization to music. This chapter summarizes three motion capture studies investigating relationships between music-induced movement synchronization and temporal aspects of the music. The first study examined period locking to different metrical levels and its relations to rhythmic features in the music, whereas in the second, phase locking to different metrical levels in slightly tempo-shifted musical stimuli was investigated. The third study investigated relationships between different movement types and synchronization in individual and joint settings. Results indicate that entrainment to music is a complex phenomenon involving the whole body and depends on various factors, such as musical characteristics, in particular pulse clarity and low-frequency spectral flux, or the social situation.
Unravelling Individual Differences in Synchronizing to the Beat of Music
Authors: Dalla Bella Simone 
Published: March 2024

Abstract
Moving to the beat of music is natural and can be perfected by extensive training. People vary on a continuum in their ability to align their movements to a beat. At one extreme, there are professional dancers and drummers. At the other, so-called poor synchronizers, who display major difficulties in moving to the beat. This condition is found in the general population and is exacerbated by conditions such as Parkinson’s disease and neurodevelopmental disorders. This variability is an invaluable source of information reflecting the internal structure and brain mechanisms underlying beat perception and synchronization. Research on individual differences in beat perception and synchronization is reviewed here. Moreover, the current challenges in pinpointing individual profiles of rhythm capacities in the general population and in patients are highlighted. The use of comprehensive testing tools and recent advances in data sciences hold promise in unravelling the complexity of individual differences in moving to the beat of music.
Expressive Timing in Music and Dance Interactions
Authors: Maes Pieter-Jan , Leman Marc 
Published: March 2024

Abstract
Timing is considered a core ingredient of human interaction in music and dance. This chapter approaches timing from an embodied and dynamic perspective. It starts by outlining a sensorimotor timing mechanism—complementing cognitive-based timing—rooted in the idea that time and timekeeping are phenomena that emerge from ongoing sensorimotor processes and interactions within our environment. Basically, sound and (dance) movement contain time-varying cues and patterns that may be used to regulate timing. Where this mechanism typically considers timing on shorter timescales (e.g. on the level of the musical beat), the authors express the need to further incorporate larger-scale temporal developments, like expressive arcs, tension bows, and expressive narratives. Within this framework of multiple interdependent timescales in music and dance interaction, the role of sensorimotor and dynamic prediction mechanisms is examined.
Temporal Aspects of Musical Expectancy and Creativity in Improvisation
Authors: Loui Psyche 
Published: March 2024

Abstract
This chapter is about the role that expectation and prediction could play in how the mind conceptualizes creative acts in real time. Drawing from classic work in cognitive science, it develops a multilevel model of musical creativity as a complex system that can be described at computational, algorithmic, and implementation levels, with predictions over different musical timescales at the centre of the complex system. While musical improvisation is a real-time act of creativity, it draws upon a knowledge base of learning, memory, autobiographical experiences, and mental representations. It also examines the relationships between prediction, expectation, creativity, and improvisation, by reviewing evidence from diverse disciplines including human perception and performance, musical information retrieval, human electrophysiology, and structural and functional neuroimaging. As an illustrative case that ties together these diverse lines of evidence, musical improvisation is examined as a set of human activities that flexibly engages multiple capacities of the mind across different timescales.
Experiences of Time in Boring Dance
Authors: Pakes Anna 
Published: March 2024

Abstract
It is difficult to explain what makes some theatre dances boring, even if certain features seem to have a propensity to bore (excessive repetition or slowness, for example). A viewer’s cultural and psychological framework also plays a crucial role: aesthetic preferences and thresholds of endurance shape reactions, including reactions to dance that deliberately tests both. Moreover, an initial bored reaction can be transfigured into interest if the experience of boredom itself reveals something important about time and our relationship to it. This chapter explores the dynamics and limits of this shift, discussing the three levels of boredom identified by Martin Heidegger, the most profound of which (he argues) enables revelation of the fundamental nature of being. The chapter argues both that the situative nature of boredom in the theatre militates against recasting its metaphysical significance in Heideggerian vein, and that residual anxiety about finitude may ground justified resistance to the sustained reflection on duration demanded by some theatre dance.
Evaluating the Psychological Reality of Alternate Temporalities in Contemporary Music
Authors: Noble Jason , Bonin Tanor , Dean Roger , McAdams Stephen 
Published: March 2024

Abstract
Experiences of modulated temporality commonly accompany musical listening, but how music can produce experiences of modulated temporality as it unfolds in real time remains obscure. This chapter discusses psychophysical relationships between ‘real-time’ trajectories of musical/sonic parameters and listeners’ experiences of musical time and timelessness. It reports selected findings from an empirical study focusing on listeners’ responses to two excerpts from Gérard Grisey’s Vortex Temporum, a piece in which the composer deliberately employs different temporalities. This is in keeping with the current volume’s themes of relations between music and temporal experiences, the interplay between objective and subjective senses of time, and, more broadly and speculatively, the psychological models of time as they relate to human perceptual processes and associated states of consciousness.
Performing and Feeling Time in Contemporary Dance
Authors: Daniel Henry , London Justin 
Published: March 2024

Abstract
Henry Daniel, Distinguished Professor in the Faculty of Communications, Art and Technology at Simon Fraser University in British Columbia, Canada, is a choreographer and dance researcher whose work has ranged from the development of interactive technologies for performance to the experience of immigrants, refugees, and displaced persons as expressed in dance. In this chapter he gives his reflections on time and the temporal experience of dance from the perspectives of choreographers/dancemakers, dancers, audience members, and the researchers who study all three. Specifically, (a) thoughts about creating temporal frameworks in music and dance, (b) the special time frame of a dance or musical performance, (c) how the audience’s temporal experience can mirror that of the dancers, (d) the interaction between musical time and dance time, and (e) a cautionary note regarding what psychology and neuroscience can learn from dance, and vice versa.
Music Is a Unique Artform Because of the Temporal Aspect
Authors: Nagano Kent , Wöllner Clemens 
Published: March 2024

Abstract
In this conversation, Kent Nagano offered his views on music and ballet as temporal arts. It took place in March 2022 in the Hamburg opera house, where Nagano is General Music Director and occasionally works with the Hamburg Ballet, directed by John Neumeier, in productions including classical music repertoire that was originally not considered for ballet. Nagano describes the special moment of a performance, and the connection between musicians and audience in time, often leading to experiences of being in a virtual world, which would be particularly true for masterpieces that can tell us about universal human values. Learning to perform music well, he argues, is comparable to learning a craft, and sense of timing is crucial as it shows how we value things. To be on time with other musicians, and more importantly, to ‘be in ensemble’, means fundamentally to open up to other individuals.
‘(Mys)precyson’
Authors: Griffiths Paul 
Published: March 2024

Abstract
‘Who are you?’ baffled Lear asks Kent as Shakespeare’s play draws to its harrowing close. ‘What are you?’ a herald asks Edgar in the same scene. These were key questions of the times. Magistrates abhorred ambiguity or not knowing. They knew what to do when confronted with what in Maidstone were called the ‘undiscovered’: ‘survey’, ‘compute’, ‘particularize’, find out ‘what they be’, be precise. More insistent demands for ‘precyson’ in culture, government, and practice were motivating forces for turning inside. ‘Precyson’ is examined in many walks of life, from the lofty heights of epistemological knowledge to coney-catching pamphlets and weights and measures. This chapter shifts from ‘mysprecyson’ to ‘precyson’ that together in tension reveal a great deal about the nature and aims of governance. ‘Mysprecyson’—disguise, forgery, perjury, counterfeiting, cozening, imperfect weights and measures—damaged civil society, the economy, and good government. Pursuing ‘precyson’ was in effect a permanent condition that defined governance. It was part of a broader precision in overlapping disciplines like surveying, mathematics, law, natural science, medicine, legal protocols, and ideas of credibility, plausibility, and facts. This all resulted in prolific and improved observation, classification, and calculation in laboratories, for instance, workshops, and local government, where the ‘middle sort’ handled affairs. Office holders became more adept at managing accounts, information, and records in and out of office. Case studies reveal them using and fine-tuning administrative skills at work and home that were valuable for offices where in words from by-laws the aim was to be ‘exact’, ‘trewe’, ‘perfect’, and ‘certyn’.
Institutions
Authors: Griffiths Paul 
Published: March 2024

Abstract
England’s first nationwide system of incarceration inside bridewells was set up by Parliament in 1610. The first bridewell opened its doors in London in 1553. The number of towns/cities with bridewells was close to twenty by 1600; around a quarter of counties also had one by then. Bridewells changed penal practices and cultures for good. They pioneered custodial sentencing and reforming offenders and were significant for the steady fall in punishing petty crime outside and the development of ‘private’ punishment/whipping. This chapter follows the spread of bridewells across England, paying close attention to their administrative and financial problems. It examines their size, costs, and upkeep, along with conditions inside them, including the performance of staff and keepers, food and board, health, hygiene, corruption, and disorders and resistance. Prisoners and offences are quantified and categorized, and lengths of sentence are measured and broken down by crime. ‘Lunatiques’ are included, but the indiscriminate ‘great confinement of the poor’ that Foucault sees was not present here. Bridewells were intended to take care of the marginal and troublesome poor, petty crime, and family breakdowns. The question of effectiveness lingers and this chapter reconsiders the terms through which we evaluate bridewells. They became indispensable for local government and were embedded in social welfare/discipline schemes, legal/penal systems, and local economies and societies. Bridewells affected the lives of countless thousands on the lowest rungs of social ladders. Whether operating around households or the margins of poor relief, they became key tools in governing apparatus.
The Harms of Internal Displacement beyond Human Rights Violations
Authors: Amantini Laura Santi 
Published: March 2024

Abstract
Political philosophers exploring the ethics of internal displacement might be inclined to over-rely on the 1998 Guiding Principles on Internal Displacement as a starting point for their normative accounts. This chapter aims to show why drawing on the Guiding Principles does not suffice to make sense of the plight of internally displaced people (IDPs), nor to develop a satisfactory philosophical account of what is owed to them. The political philosophy of internal displacement should instead proceed from a theorization of the specific harms of forced displacement. IDPs should be categorized as forced migrants, together with people displaced across borders, rather than as internal victims of human rights violations. Indeed, forced displacement entails a set of distinctive harms, in addition to prior human rights violations and vulnerability to further human rights violations.