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This finding may be an important factor in explaining the flexibility in performance and alignment of this pattern with other antifungal shoe spray purchase ketoconazole once a day, simultaneously performed rhythmic patterns fungus eye purchase 200 mg ketoconazole with amex. On the other hand fungus science definition order ketoconazole 200 mg fast delivery, there is no indication of a hierarchical time keeper organization and the execution of the strokes seems to be controlled by a sequential time keeper. However, our analysis does not support the assumption of a fastest pulse as the basis for the performance of bell patterns. If this were the case, we should have been able to identify a hierarchical arrangement of a pulse generator plus additional generators for the short and long bell strokes. Furthermore, the mean stroke duration should have been the same for all long bell strokes as they all span two units of the ‘fastest pulse generator’. The musical tradition is that of the Dyirbal speaking people south of Cairns in North Queensland (Dixon, 1972). They have two categories of songs, ‘corroboree’ and ‘love songs’, and the example analysed here is from one genre of the former, Gama songs. Dyirbal songs are performed by individual singers, mostly accompanied by clap sticks or boomerangs, played by the singers, and in some cases by an additional ‘lap drum’ – a skin stretched across thighs, played by a woman (Dixon & Koch, 1996). As the tempo variation for this performance is considerably smaller than the variability in beat duration, we did not eliminate any trend from the time series. Marking all durations sequentially by two arbitrary labels (dots and circles in fig. This grouping into two beats is confirmed by an analysis of variance, showing that the difference between the two types of beat duration is highly significant (F(1,100)=39. The calculated autocorrelation function shows a significant negative value at lag 1, as predicted by the Wing model, but as for the Kpegisu bell, values for lags>1 are not zero. The autocorrelation function is again periodic, but now with a period length of 2 lags. The significantly positive values at lag two and multiples thereof is obviously an indication of the higher-order grouping of the clap stick beats into units of two. Again, the test for a hierarchical timer arrangement was negative (see previous case): the variance for summed clap durations within and between the groups did not show any significant differences (F(1,48)=0. Discussion the timing structure in both the African and the Australian example is clearly more complex than suggested by the Wing and Kristofferson model (1973a,b). A comparison of the variance of within and between-pattern durations showed that the higher-level units of organization of the clap stick beats, as revealed by the autocorrelation function, are not an indication of a hierarchical timer organization. In both examples the results are, however, compatible with a sequential timer model. What, then, is the significance of the periodic structure of the autocorrelation function? Following the interpretation of comparable results from a grouped tapping experiment by Vorberg and Hambuch (1977), we suggest that the higher-level organization indicated by the autocorrelation function reflects the establishment of serial order of the pattern to be performed. It is a more central, cognitive aspect of the behaviour and relates to the mental representation of the bell pattern, the pattern template. This means, what performers recall or activate in performance is not a series of individual strokes but complete patterns with distinct temporal fine structures. On the other hand, a ‘peripheral’ sequential timekeeper seems to control the duration of the sequence of strokes during motor execution and its organization is reflected in the variance of the stroke timing. The time structure therefore informs us Clayton, Sager, and Will: In Time With the Music not only about the execution of motor programs but also about some aspects of the cognitive processes that lead to these motor programs, and musical behaviour shares this feature with other timed behaviour like writing and typing (Will et al. It is these two aspects of the temporal structure of musical rhythmic activities that we are dealing with when we try to understand the phenomenon of synchronization and entrainment between two or more of such activities. Because of the time constraints of most musical behaviour, it would be most interesting and challenging to explore how these two aspects are involved in and contribute to the observed phenomena. Case study 2: Simultaneous production of two rhythmic activities by one performer In this case study we are going to examine two examples of simultaneous rhythmic processes in one body. The question in these examples is: How can we detect the presence or absence of synchronization between the processes and what does the identification of synchronization tell us about entrainment?
He presented this situation as one of loss (of mastery) as much as an acceleration of the dancer’s responsibility antifungal hair cream buy discount ketoconazole 200 mg on line, a situation that creates the obligation to antifungal eye drops buy generic ketoconazole online invest dances with one’s own creativity rather than with the intention to fungus gnats soil order ketoconazole 200mg line under stand or to “get” them. Interpretation (which in French means performance as much as reading) becomes a site of fabulation and speculation—fabulation, when the meanings you create exceed logics or likelihood; spec 297 ulation, when you draw consequences from uncertain notions. Divested of the possibility to “know for sure,” the dancer enters a mobile territory. Such territory ofers no stable coordinates, but rather a set of horizons to move towards—a magnetic feld with multiple and varying poles. It is revealing that Pichaud would address the suspension of comprehension as an introduction to Hay’s work. Hay’s choreographies are composed of verbal instruc tions and perceptive riddles meant to bring the dancer’s attention into a state of embodied doubt and specula tion. Ofered as tools to work with on the score, these riddles in the form of what-if questions are like a user’s guide to the instructions. Hay describes them as: “1) unanswerable, 2) impossible to truly comprehend and, at the same time, 3) poignantly immediate. This opening process actually opens a gap, the questions suspend usu al comprehensions. They loosen prehension as a mental and sensorial relationship (of holding and stabilization), bringing the dancer into a state of admiration where the only possible approach is indeed approximation: mov ing “closer” to a mysterious task, without certainty (as to 298 its true meaning) or assessable exactitude. As a coun terexample of what she would expect from the dancer’s performance, Hay describes a “singularly coherent cho reographed body. In all three cases, “excess” points to the impossibility of identifying the dance, placing it on an ever-receding horizon, while the dancer’s efort to approach it keep her in movement. These practices demand commitment and discipline, remaining in the present, not anticipating: loosening the grasp of past and future demands (in the form of habitual and compositional tendencies), resisting from framing or from reducing what is hardly distinguisha ble to something with hard contours. The participants’ sensibilities and concerns gave prom inence in the research process to intuitive, indirect and elusive modes of action. When the teacher arrives and says honestly: “I don’t know” in an artistic context, learning as the accumulation of pre determined information is excluded, for there really is nothing waiting to be found out. Neither teacher nor student knows what should be learnt, or if something will be learnt at all. We can only commit and embrace together something that is proposed as a chance to do so. The teacher’s role, like the artist’s, is to make up situ ations around a gap, not to fll it with prescriptions. As a host, Lacey brought in her own poetics, and these have colored most of what happened in that frame. Her work, whether as an art-maker or teacher, recurrently hovers on the borders of presence and defnition. For example, as the start of a workshop we led together this summer,14 she proposed that we read aloud some texts whilst the participants do what they do, such as lying down on top of each other, giving attention to their and each other’s bodies in the form of massage and other similar activities they were already engaged in. The situation should continue as long as they listen, 301 and should be over once everyone fnds themselves doing something else. The task thus seemed rather clear, yet was full of holes for all parties engaged: which texts should we read? From a clearly described yet excessively open structure to the material reality of its performance, the many provisory and con tingent choices that give it fesh necessarily exceed the execution of a task. The structure is there to support and protect the possibility of investing in presence and ac tion of a most feeting sort. The gaps in the enunciation are calls for intuitive responses, and for investigating the liminal spaces between “something” and “nothing,” or to allow what is hardly ever considered to be given full attention. The complexity of Lacey’s choreographic procedures is opaque, and their relation to an audience’s (or students’) aesthetic response is mostly indirect (these are cer tainly qualities she shares with Hay). Her commitment to the preservation of mystery in art can be seen as a cultivation of admiration, in Irigaray’s terms: wonder for what is not known, without immediately trying to place it in a manageable place and as active resistance to reifcation. Toward the end of the 2014 session, in a collective attempt at naming the type of procedures we 302 had been fabricating in the Teachback context, the name “weak method” was conceived.
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Tese fve fundamentals should be familiar to fungus gnats in basement purchase ketoconazole online every general but only those who master them with a deep understanding of the principles of adaptation will be victorious fungus bottom of foot buy ketoconazole 200mg cheap. Sun Tzu believed the fundamentals to foot fungus definition order genuine ketoconazole on line be imperative for analysing and judging victory and defeat in a war. Political and military leaders should pay close attention to the fve factors since they are critical to building successfully strategy. In order to assure victory, the political philosophy should be clarifed so that grand national strategy can be derived appropriately and military strategy correctly aligned, shifts in environmental and climatic conditions and trends of the times should be leveraged, geographic location and associated terrain should be understood and picked carefully, leaders with the right qualities should be cultivated, and strategic military doctrine should be able to form a fexible framework for the conduct of the mission. If even one of the fundamentals is ignored in the planning and execution of campaigns and wars, it will not be possible to defeat the adversaries consistently. This would mean 30 Strategic Assessments that victory in the long term will be elusive. Any one of the fve can prevent success— weak philosophy, poorly judged shifts in the environment, wrong battleground, incompetent leaders, rigid or inconsistent doctrine—and lead to defeat. Good strategy will account for all the fve fundamental factors in a realistic manner. As a corollary none of the factors can be considered in isolation, the interaction between two or more of them being more important to the outcome of a confict than any one of them individually in isolation. For example, the doctrine must suit the capability, the leadership should be able to assess the geographic location and the national philosophy must be appropriate to appreciate the changing trends. Examining the Fundamentals When calculating the Fundamentals, Discover: Which View possesses the Tao? In laying down plans for an operation, these fundamentals must be examined closely. It is frst necessary to compare the political leadership of nations at war—who can infuence the population in attaining the philosophical aim of the confict. Ten the military leadership should be compared in terms of the necessary qualities and next the geographical factors that will afect the conduct of the confict. Tereafter, assess the comparative merits of the military 31 The Art of Air Power capability systems, discipline, training, operational art and the efectiveness of extant doctrine. A clear analysis of the fve fundamentals will indicate who will be victorious in battle. Sun Tzu’s method of strategic analysis is many layered and the examination of the fve fundamental factors is the frst step meant to indicate what should be clearly learned to understand the larger strategic picture. While the fve fundamentals have pertinence in the modern context, an in-depth analysis as laid out by Sun Tzu may fall short of the necessary veracity because of the increased number of variables that interplay in contemporary confict. Good strategy is based on superior decisions arrived at through the concise analysis of information. All circumstances are unique and, therefore, no assumptions can be made the root of all decisions. Irrespective of the situation, the frst step to formulating strategy is to question available knowledge as the precursor to analysis and planning. The uniqueness of the circumstances also afects the national philosophy and the context of its application, leadership and the processes. To create a winning strategy, Sun Tzu adopts the method of focusing on comparative or relative values. Especially from a military viewpoint, it is necessary to have a comparative understanding of one’s own strengths and weaknesses in each key area vis-à-vis potential adversaries prior to planning a confict. Such an analysis will permit appropriate allocation of resources to areas that need to be improved in relation to the adversary and help to put one’s own capabilities in the correct perspective. A series of serious questions regarding the merits, vis-à-vis the (potential) adversary, of one’s own philosophy, leadership, selection of battleground, morale of the population and deterrent capability will provide a clear indication of the outcome of any confict. Success will be dependent on the leadership being dedicated to such an analysis, having the ability to view the situation objectively and possessing an in-depth understanding of strategy. Politics, economics, military capabilities, diplomacy and geography are the primary factors and the basis for any military appreciation or analysis. The heart of Sun Tzu’s teaching, in this particular instance, is decision superiority. Leaders who ask the right questions and are objective in understanding their comparative strengths are successful over time.
I’m the last in line to fungus gnats alcohol buy generic ketoconazole line learn—to learn to antifungal nail tablets order ketoconazole 200mg with visa live antifungal body wash for ringworm discount ketoconazole online visa, to coexist with everything, to adapt to a bigger thing, to the landscape of my life. There is only one story, Campbell showed, only one quest, one adventure, what he called “the monomyth. The hero is the human being who dares descend into the darkest depths of the unconscious—to the very source of our creative power—and there confronts the monsters thrown up by the fright-stricken infant psyche. As the hero pursues the journey, the phantoms and dragons all vanish or lose power or even become allies. The psyche of the addict is populated by demons more frightful than those many other people have to face, but if she undertakes the quest, she’ll find they are no more real and no more powerful. The reward at journey’s end, the treasure the hero has been seeking, is our essential nature. The aim, Campbell asserted, is “to realize that one is that essence; then one is free to wander as the essence in the world. Infants come into the world fully present and alive to every possibility, but they soon begin to shut down parts of themselves that their environment is unable to recognize or accept with love. As a consequence of that defensive shutdown, says the psychologist and spiritual teacher A. Almaas, one or more essential qualities such as love, joy, strength, courage or confidence may be suppressed. They think the hole, the deficiency, is how they really are at the deepest level and that there is nothing beyond it. In either case, we develop behaviour patterns and emotional coping mechanisms to cover up the emptiness, mistakenly believing that the resulting traits represent our true “personality. There are people who are not addicts in the strict sense, but only because their carefully constructed “personality” works well enough to keep them from the painful awareness of their emptiness. In such a case, they’ll be addicted “only” to a false or incomplete self-image or to their position in the world or to some role into which they sink their energy or to certain ideas that give them a sense of meaning. The human being with a “personality” that is insufficient to paper over the inner void becomes an undisguised addict, compulsively pursuing behaviours whose negative impact is obvious to him or to those around him. The difference is only in the degree of addiction or, perhaps, in the degree of honesty around the deficient self. Spiritual work and psychological work are both necessary to reclaim our true nature. Without psychological strength, spiritual practice can easily become another addictive distraction from reality. Conversely, shorn of a spiritual perspective we are prone to stay stuck in the limited realm of the grasping ego, even if it’s a healthier and more balanced ego. Therapy strives to make the deficient self stronger by uncovering the sources of a person’s emotional pain and releasing the rigid defensive patterns built up against it. Spiritual exploration ploughs the same ground but is less concerned with “fixing” or improving things than with rediscovering what is whole and has not been absent, just obscured. On this question there can be no prescriptions; nor would I be the one to provide them. In retrospect I can see that the God rage I trembled with as a small child was the beginning of my movement toward enlightenment, a goal that I may yet be far from attaining. I may have the equivalent of several Mount Everests left to scale, or perhaps I have only to reach out with my little finger to rend the veil of illusion between my soul and the most sacred realities. Being on the path is what’s important and we each need to tread a path on our own, no matter how many may have walked it before us. I have found a way that feels right to me and I look to the teaching wherever I recognize it. The world has never lacked great spiritual guides, precepts and practices, but surely it has had a shortage of people willing to learn. The ego’s tragic flaw is to mistake form for substance, surface illusion for reality. As long as the ego rules, we are all like the Hebrews who wandered the desert on their way to the Promised Land, “a stiff necked people. As the present state of the planet indicates, we’re not fast learners, we human beings. Each generation must absorb the same lessons over and over again, groping its blind way through the realm of the Hungry Ghosts. The truth is within, which is why outward-directed attempts to fill in the void created when we lose touch with it cannot bring us closer to the serenity we long for.