Academy of Neuroscience

Taida

2010-04-11T03:46:00.000-07:00

Internet Biosemiotics Resources台大演講網「展望」系列演講

人是萬物之靈？- 看我們和動物有多相近！杜銘章教授 (國立師範大學生命科學系)

生物訊號溝通的管道 - 人為干擾的負面效應嚴宏洋研究員 (中研院細胞與個體生物學研究所)

大腦如何控制動物行為？- 基因與神經網路的可塑性江安世所長 (國立清華大學生物科技研究所)

令人「又怕又愛」的新科技 - 從動物之生殖技術、基因轉殖、與複製科技談起鄭登貴教授 (國立臺灣大學動物科學技術學系)

追瘤計畫 - 偵搜與追殺流竄轉移之癌細胞的新科技白果能博士 (中研院生物醫學科學研究所)

追夢計畫-談資訊工程在睡眠醫學的應用陽明大學腦科研究所郭博昭教授

Biolinguistic Turn

2010-04-10T16:33:00.001-07:00

Biolinguistic Turn

Language and the Mind Revisited - The Biolinguistic Turn

http://www.youtube.com/watch?v=yJp1-Od67-U&feature=channel

免費下載 — UCtelevision — 西元2008年01月10日 — UC Berkeley presents the The Charles M. and Martha Hitchcock Lecture series, featuring linguist and political activist Noam Chomsky. Chomsky examines biolinguistics - the study of relations between physiology and speech.

Series: "UC Berkeley Graduate Council Lectures" [7/2003] [Public Affairs] [Humanities] [Show ID: 7412]

Language and the Mind Revisited - The Rest of the World

http://www.youtube.com/watch?v=_tvPkSveevA

免費下載 — UCtelevision — 西元2008年01月10日 — Influential linguist and political Activist Noam Chomsky discusses the properties, design and theories of language in this Hitchcock lecture presented at UC Berkeley. Series: "UC Berkeley Graduate Council Lectures" [7/2003] [Public Affairs] [Humanities] [Show ID: 7414]

Grey Matters: Understanding Language

http://www.youtube.com/watch?v=K1pbnWcabMY&feature=related

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UCtelevision — 西元2008年01月22日 — Why are humans the only species to have language? Is there something special about our brains? Are there genes that have evolved for language? In this talk, Jeff Elman, UCSD professor of cognitive science and co-director of the Kavli Institute for Brain and Mind, discusses some of the exciting new research that helps us understand what it is about human language that is so different from other animals' communication systems, and what about our biology might make language possible. Series: "Grey Matters" [7/2006] [Science] [Show ID: 11187]

The Origin of the Human Mind: Brain Imaging and Evolution

http://www.youtube.com/watch?v=rconzwB422s&feature=channel

UCtelevision — 西元2008年01月22日 — UCSD cognitive scientist Martin Sereno takes you on a captivating exploration of the brain's structure and function as revealed through investigations with new advanced imaging techniques and understandings of evolution. Series: "Grey Matters" [12/2005] [Science] [Show ID: 11186]

Evolution, Culture and Truth

http://www.youtube.com/watch?v=khp4VWJC1FI&feature=related

1600f&color2=0xfebd01">1600f&color2=0xfebd01" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385">

ResearchChannel — 西元2008年02月21日 — In this Tufts University video, Daniel C. Dennett, philosophy professor and co-director of the Center for Cognitive Studies at Tufts University, offers a unique perspective on the role of philosophy in the cognitive and behavioral sciences. Dennett is known for his research on the mind and consciousness, relating philosophy to the scientific study of the brain, evolution and artificial intelligence.

Emoto

2010-04-10T08:07:00.000-07:00

Masaru Emoto - 1 of 4

http://www.youtube.com/watch?v=2Uv3sygcp4I&feature=related

ubikmonroe — 西元2008年12月11日 — http://www.masaru-emoto.net/
See how spoken and written words change the structure of water. This ground breaking work from Dr Masuro Emoto shows us that what we say, and feel and well as what we listen to has an effect on water, and because we are made up of water, it has an effect on us.

Masaru Emoto - 2 of 4

http://www.youtube.com/watch?v=EFL78rDX_9w&NR=1

Masaru Emoto - 3 of 4

http://www.youtube.com/watch?v=P02AjVeEp9o&feature=related

Masaru Emoto - 4 of 4

http://www.youtube.com/watch?v=GG0MeoXCano&NR=1

Extended Mind

2010-04-10T03:19:00.000-07:00

The Extended Mind: Recent Experimental Evidence (Rupert Sheldrake (1942 -))

http://www.youtube.com/watch?v=JnA8GUtXpXY&feature=related

GoogleTechTalks — 西元2008年09月05日 — Google Tech Talks September 2, 2008

ABSTRACT

We have been brought up to believe that the mind is located inside the head. But there are good reasons for thinking that this view is too limited. Recent experimental results show that people can influence others at a distance just by looking at them, even if they look from behind and if all sensory clues are eliminated. And people's intentions can be detected by animals from miles away. The commonest kind of non-local interaction mental influence occurs in connection with telephone calls, where most people have had the experience of thinking of someone shortly before they ring. Controlled, randomized tests on telephone telepathy have given highly significant positive results. Research techniques have now been automated and experiments on telepathy are now being conducted through the internet and cell phones, enabling widespread participation.

Speaker: Rupert Sheldrake (1942 -)

Rupert Sheldrake, Ph.D. is a biologist and author of more than 75 technical papers and ten books, the most recent being The Sense of Being Stared At. He studied at Cambridge and Harvard Universities, was a Fellow of Clare College, Cambridge and a Research Fellow of the Royal Society. He is currently Director of the Perrott-Warrick project, funded from Trinity College Cambridge.

Rupert Sheldrake - The Extended Mind - The Sense Of Being Stared At. Pt 1/3

http://www.youtube.com/watch?v=U7HwjYrbwEM&feature=related

xcite83 — 西元2009年02月27日 — Rupert Sheldrake is a British former biochemist and plant physiologist who now researches and writes on parapsychology and other controversial subjects. His books and papers stem from his theory of morphic resonance, and cover topics such as animal and plant development and behaviour, memory, telepathy and perception.

In 2003, Sheldrake published The Sense of Being Stared At on the psychic staring effect, including an experiment where blindfolded subjects guessed whether persons were staring at them or at another target. He reported that, in tens of thousands of trials, the scores were consistently above chance (60%) when the subject was being stared at, but only 50% (random chance) when the subject was not being stared at. This suggested a weak sense of being stared at but no sense of not being stared at. He also claimed that these experiments were widely repeated, in schools in Connecticut and Toronto and a science museum in Amsterdam, with consistent results.

The Man With The Extended Mind (1/4)

http://www.youtube.com/watch?v=t3OOC5n0TvY&feature=related

olioh — 西元2007年06月08日 — Part 1

Clipboard in hand, Jes Benstock delves into the world of heretical scientist, Dr. Rupert Sheldrake. Can his experiments really prove the existence of phantom limbs and telepathic dogs?

Find out more at: http://www.benstock.co.uk/extended/Ex...

Patel

2010-04-10T00:31:00.001-07:00

Patel, A.D. (2008). Music, Language, and the Brain.

20090723 Music and the Brain: The Music of Language and the Language of Music (Aniruddh Patel)

http://www.youtube.com/watch?v=2oMvtw4aeEY

LibraryOfCongress — 西元2009年07月23日 — In our everyday lives, language and instrumental music are obviously different things. Neuroscientist and musician Ani Patel is the author of a recent, elegantly argued offering from Oxford University Press, "Music, Language and the Brain." Oliver Sacks calls Patel a "pioneer in the use of new concepts and technology to investigate the neural correlates of music." In Patel's presentation, he discusses some of the hidden connections between language and instrumental music that are being uncovered by empirical scientific studies.

The Music and the Brain Lecture Series is a cycle of lectures and special presentations that highlight an explosion of new research in the rapidly expanding field of "neuromusic." Programming is sponsored by the Library's Music Division and its Science, Technology and Business Division, in cooperation with the Dana Foundation.

Aniruddh Patel is the Esther J. Burnham Senior Fellow in Theoretical Neurobiology at the Neurosciences Institute.

20080122 Music and the Mind

http://www.youtube.com/watch?v=ZgKFeuzGEns&feature=related

UCtelevision — 西元2008年01月22日 — In this edition of "Grey Matters," Aniruddh Patel, of the Neurosciences Institute, discusses what music can teach us about the brain, and what brain science, in turn, can reveal about music. Series: "Grey Matters" [4/2006] [Science] [Show ID: 11189]

[Speech database]

[Publications]

Book: Patel, A.D. (2008). Music, Language, and the Brain. NY: Oxford University Press. (Link to OUP website and sound examples) (Link to Amazon) (ASCAP award)

[Book reviews: Nature (April 10, 2008), Nature Neuroscience (April 2008), Trends in Cognitive Sciences (July 2008), Linguist list (Sept 29, 2008), Empirical Musicology Review (Oct 2008),Neuron (Nov 2008), Music Perception (Feb 2009), Musicae Scientiae (Spring 2009), Brain (Sept 2009), Psychology of Music (Sept 2009), Language and Cognition (Sept 2009), Music Theory Online (Oct 2009), Phonology (Dec 2009)] (Compare prices)

Papers:

Yoshida, K., Iversen, J.R., Patel, A.D., Mazuka, R., Nito, H., Gervain, J., & Werker, J. (in press). The development of perceptual grouping biases in infancy: A Japanese-English cross-linguistic study. Cognition. (preprint-pdf)

Patel, A.D., Xu, Y., & Wang, B. (in press). The role of F0 variation in the intelligibility of Mandarin sentences. Proceedings of Speech Prosody 2010, May 11-14, 2010, Chicago, IL, USA. (preprint-pdf)

Patel, A.D. (in press). Language, music, and the brain: A resource-sharing framework. In: Language and Music as Cognitive Systems. P. Rebuschat, M.Rohrmeier, J. Hawkins, & I. Cross (Eds.). Oxford: Oxford University Press. (preprint – pdf).

Patel. A.D. (in press). Advancing the comparative study of linguistic and musical syntactic processing. (A response to commentaries on the above chapter). In:Language and Music as Cognitive Systems. P. Rebuschat, M. Rohrmeier, J. Hawkins, & I. Cross (Eds.). Oxford: Oxford University Press. (preprint-pdf)

Patel, A.D., Iversen, J.R., Bregman, M.R., & Schulz, I. (2009). Experimental evidence for synchronization to a musical beat in a nonhuman animal. Current Biology, 19: 827-830. (paper-pdf) (video examples) (commentary)

Patel, A.D., Iversen, J.R. Bregman, M.R. & Schulz, I. (2009). Studying synchronization to a musical beat in nonhuman animals. Annals of the New York Academyof Sciences, 1169: 459-469. (paper-pdf)

Patel, A.D., Iversen, J.R., Bregman, M.R., & Schulz, I. (2009). Avian and human movement to music: Two further parallels. Communicative and Integrative Biology, 2(6): 1-4. (paper-pdf)

Iversen, J.R., Repp, B., & Patel, A.D. (2009). Top-down control of rhythm perception modulates early auditory responses. Annals of the New York Academy of Sciences, 1169: 58-73. (paper-pdf)

Slevc, L.R., Rosenberg, J.C., & Patel, A.D. (2009). Making psycholinguistics musical: Self-paced reading time evidence for shared processing of linguistic and musical syntax. Psychonomic Bulletin and Review, 16: 374-381. (paper-pdf)

Fedorenko, E., Patel, A.D., Casasanto, D., Winawer, J., & Gibson, E. (2009). Structural integration in language and music: Evidence for a shared system. Memory & Cognition, 37: 1-9. (paper-pdf) [Awarded “Best article in 2009 in Memory & Cognition” from the Psychonomic Society].

Patel, A.D. (2009). Music and the brain: Three links to language. In: The Oxford Handbook of Music Psychology. S. Hallam, I. Cross, & M. Thaut (Eds.) Oxford: Oxford University Press (pp. 208-216). (paper–pdf)

Iversen, J.R., Patel, A.D., & Ohgushi, K. (2008). Perception of rhythmic grouping depends on auditory experience. Journal of the Acoustical Society of America,124: 2263-2271. (paper-pdf) (commentary on Language Log) (popular version of paper)

Patel, A.D. (2008). Talk of the tone. Nature, 453: 726-727. (paper-pdf) (Essay series)

Patel, A.D., Iversen, J.R., Wassenaar, M., & Hagoort, P. (2008). Musical syntactic processing in agrammatic Broca’s aphasia. Aphasiology, 22: 776-789. (paper-pdf).

Patel, A.D, Wong, M., Foxton, J., Lochy, A., & Peretz, I. (2008). Speech intonation perception deficits in musical tone deafness (congenital amusia). Music Perception, 25: 357-368. (paper-pdf)

Repp, B.H., Iversen, J.R., & Patel, A.D. (2008). Tracking an imposed beat within a metrical grid. Music Perception, 26: 1-18. (paper-pdf)

Patel, A.D. (2008). A neurobiological strategy for exploring links between emotion recognition in music and speech. Behavioral and Brain Sciences, 31: 589-590.(preprint-pdf)

Tierney, A.T., Russo, F.A., & Patel, A.D. (2008). Empirical comparisons of pitch patterns in music, speech, and birdsong. Paper presented at Acoustics ’08 (155^th meeting of the Acoustical Society of America), July 2008, Paris, France. (paper-pdf)

Iversen, J.R, & Patel, A.D. (2008). The Beat Alignment Test (BAT): Surveying beat processing abilities in the general population. In: Proceedings of the 10th International Conference on Music Perception & Cognition (ICMPC10), August 2008, Sapporo, Japan. K. Miyazaki et al. (Eds.), Adelaide: Causal Productions, p. 465-468. (paper-pdf) (poster-pdf) (BAT stimuli)

Patel, A.D. (2008). Music as a transformative technology of the mind. Paper presented at Music: Its Evolution, Cognitive Basis, and Spiritual Dimensions. Cambridge University, Sept 18-20, 2008. (paper-pdf)

Patel, A.D., & Iversen, J.R. (2007). The linguistic benefits of musical abilities. Trends in Cognitive Sciences, 11: 369-372. (paper-pdf)

Patel, A.D. (2006). Musical rhythm, linguistic rhythm, and human evolution. Music Perception, 24:99-104. (paper-pdf)

Patel, A.D., Iversen, J.R., & Rosenberg, J.C. (2006). Comparing the rhythm and melody of speech and music: The case of British English and French. Journal of the Acoustical Society of America, 119:3034-3047. (paper-pdf) (popular version of paper-html) (Nature news story-html) (online nPVI calculator)

Patel, A.D. (2006). An empirical method for comparing pitch patterns in spoken and musical melodies: A comment on J.G.S. Pearl’s “Eavesdropping with a Master:Leoš Janáček and the music of speech.”. Empirical Musicology Review, 1:166-169. (paper-pdf)

Patel, A.D. (2006). Music and the mind. Lecture given for the UCSD “Grey Matters” series on neuroscience for the public, Feb 8, 2006. (on UCSD TV) (on YouTube)

Matsumoto, K., Samson, G.T., O’Daly, O.D., Tracy, D.K., Patel, A.D., & Shergill, S.S. (2006). Prosodic discrimination in patients with schizophrenia. British Journal of Psychiatry, 189:180-181. (paper-pdf) (data supplement-pdf).

Patel, A.D. & Iversen, J.R. (2006). A non-human animal can drum a steady beat on a musical instrument. In: Proceedings of the 9th International Conference on Music Perception & Cognition (ICMPC9). M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (Eds.), p. 477. (abstract-pdf)

Patel, A.D. (2005). The relationship of music to the melody of speech and to syntactic processing disorders in aphasia. Annals of the New York Academy of Sciences, 1060:59-70 (paper-pdf)

Patel, A.D., Foxton, J.M., & Griffiths, T.D. (2005). Musically tone-deaf individuals have difficulty discriminating intonation contours extracted from speech. Brain and Cognition, 59:310-313. (paper-pdf)

Patel, A.D., Iversen, J.R., Chen, Y., & Repp, B.H. (2005). The influence of metricality and modality on synchronization with a beat. Experimental Brain Research,163:226-238. (paper-pdf)

Patel, A.D., Iversen, J.R., & Hagoort, P. (2004). Musical syntactic processing in Broca’s aphasia: A preliminary study. In: Proc. of the 8^th Intl. Conference on Music Perception and Cognition, Evanston, IL, 2004. S.D. Lipscomb et al. (Eds.), pp. 797-800. Adelaide: Causal Productions. (paper – pdf)

Daniele, J.R. & Patel, A.D. (2004). The interplay of linguistic and historical influences on musical rhythm in different cultures. In: Proc. of the 8^th Intl. Conference on Music Perception and Cognition, Evanston, IL, 2004. S.D. Lipscomb et al. (Eds.), pp. 759-762. Adelaide: Causal Productions. (paper – pdf)

Patel, A.D. & Balaban, E. (2004). Human auditory cortical dynamics during perception of long acoustic sequences: Phase tracking of carrier frequency by the auditory steady-state response. Cerebral Cortex, 14(1):35-46. (paper-pdf)

Patel, A.D. (2003). Rhythm in language and music: Parallels and differences. Annals of the NY Academy of Sciences, 999:140-143. (paper–pdf) (comment-pdf)

Patel, A.D. & Daniele, J.R. (2003). Stress-timed vs. syllable-timed music? A comment on Huron and Ollen (2003). Music Perception, 21:273-276. (paper – pdf)

Patel A.D. (2003). Language, music, syntax and the brain. Nature Neuroscience 6(7):674-681. (paper - pdf) (supplementary information) (errata - pdf)

Patel, A.D. (2003). A new approach to the cognitive neuroscience of melody. In: The Cognitive Neuroscience of Music. I. Peretz and R. Zatorre (Eds.), pp.325-345. Oxford: Oxford Univ. Press. (paper-pdf)

Patel A.D. & Iversen, J.R. (2003). Acoustic and perceptual comparison of speech and drum sounds in the North Indian tabla tradition: an empirical study of sound symbolism. Proceedings of the 15^th International Congress of Phonetic Sciences, Barcelona, 2003, pp.925-928. (paper - pdf) (poster [with spectrograms]) (sound examples) (perception experiment)

Patel, A.D. & Daniele, J.R. (2003). An empirical comparison of rhythm in language and music. Cognition, 87:B35-B45. (paper - pdf) (online nPVI calculator)

Chen, Y., Repp, B.H., & Patel, A.D. (2002). Spectral decomposition of variability in synchronization and continuation tapping: Comparisons between auditory and visual feedback conditions. Human Movement Science, 21:515-532. (paper - pdf)

Patel, A.D. & Balaban E. (2001) Human pitch perception is reflected in the timing of stimulus-related cortical activity. Nature Neuroscience, 4(8):839-844. (abstract) (paper - pdf) (suppelmentary information - pdf)

Patel, A.D. & Balaban, E. (2000). Temporal patterns of human cortical activity reflect tone sequence structure. Nature,
404:80-84. (abstract) (paper - pdf) (news&views article - pdf) (supplementary information - pdf) (sound examples) (errata - pdf)

Patel, A.D. (2000). Tone sequence structure is reflected in dynamic neural responses. In: Proceedings of the 6th International Conference on Music Perception and Cognition. C. Woods, G. Luck, R. Brochard, F. Seddon, & J. A. Sloboda (Eds.) Keele: Keele University Department of Psychology. [A less technical version of Patel & Balaban, 2000]. (abstract) (paper - pdf)

Patel, A.D., Löfqvist, A., and Naito, W. (1999). The acoustics and kinematics of regularly-timed speech: A database and method for the study of the P-center problem. Proceedings of the 14^th International Congress of Phonetic Sciences, San Francisco, 1999, Volume 1, pp.405-408. (abstract) (paper - pdf) (database)

Patel, A.D. (1998). Syntactic processing in language and music: Different cognitive operations, similar neural resources? Music Perception, 16(1): 27-42. (abstract) (paper - pdf)

Patel, A.D., Gibson, E., Ratner, J., Besson, M. & Holcomb, P.J. (1998). Processing syntactic relations in language and music: An event-related potential study.Journal of Cognitive Neuroscience, 10(6): 717-733. (abstract) (paper - pdf)

Patel, A.D., Peretz, I., Tramo, M. & Labrecque, R. (1998). Processing prosodic and musical patterns: A neuropsychological investigation. Brain and Language,61: 123-144. (abstract) (paper - pdf) (errata - pdf)

Patel, A.D., & Peretz, I. (1997). Is music autonomous from language? A neuropsychological appraisal. In: Perception and Cognition of Music. I. Deliège and J.Sloboda, Eds., (pp.191-215). London: Erlbaum Psychology Press. (abstract)(paper-pdf)

Publications in previous field

Andersen, A. & Patel, A.D., (1994). Meat ants as dominant members of Australian ant communities: an experimental test of their influence on foraging success and foraging abundance. Oecologia, 98: 181-191.

Myers, C. & Patel, A.D. (1991). Saving Asia’s wildlife. World Monitor, 4(1): 50-55.

Patel, A.D. (1990). An unusually broad behavioral repertory for a major worker in a dimorhphic ant species: Pheidole morrisi. Psyche, 97(3-4): 181-191.

Patel, A.D. & Lin, Y.S. (1989). History of Wildlife Conservation in Taiwan. Council of Agriculture Forestry Series #20 (48 pp. book, published in English and Chinese).

Musilanguage

2010-04-09T23:37:00.001-07:00

Musilanguage Research Resources (Community Music Victoria)

http://cmv.customer.netspace.net.au/MusicResearch.html

Musilanguage - Model of Music Evolution (Steven Brown)

http://www.sfu.ca/psyc/brown/musilanguage.pdf

Keywords

Individuals

Research institutions & associations

Periodicals & websites

Conferences

Books, articles and reviews

Thinking about musicking?

The origins, purpose, function, results and value of music

In mid 2006, our Victoria Sings program was scheduled for a large-scale evaluation. While negotiating the form this would take, the contracted experts stated that so little research had been done on the health impacts of group music-making that a significant portion of the project should be devoted to illustrating these effects.

Our Executive Officer, Jon Hawkes, demured; he opined (without really being absolutely sure) that there actually was a huge body of research, perhaps rendered invisible because it occurred across such a wide range of disciplines. His suggestion was rejected, the Victoria Sings evaluation didn't happen (but that's another story), and thus began this section of our website.

(A little diversion: turns out Jon isn't the only one who thinks the point has already been proved; the Arts and Health Working Group in the UK reached a similar conclusion a year later)

We had never really bothered much with research before - the benefits of making music together had always seemed totally obvious to us, and our top priority was to help get it happening more widely, rather than to be able explain why it was so important.

But the world has changed: it's increasingly difficult to raise the dosh without being able to provide 'the evidence'. So, for our own needs, and as an aid to others finding themselves in a similar position, we decided to bring together what we could find of the intersections between music-making and scientific investigation and analysis.

A year and a half later, we are more than a bit overwhelmed at the amount of material we've found (nearly 2,500 entries) - and at a bit of a loss about how to make it useful. Long lists are impressive but not very accessible. Our method has been to record the bare essentials and to link each item to a web source, but even so, it's not hard to imagine the onset of scrolling overload.

We've put our findings together into six sections:

List name	No of items	Description
Keywords	96	a hyperlinked glossary of concepts, disciplines, technologies and concerns that, we hope, can function as a navigational tool.
Individuals	185	people who have made a significant contribution to our understanding of music, what they do, where they work and how they can be reached.
Research institutions & associations	160	places where research is happening.
Periodicals & websites	79	the vehicles of dissemination.
Conferences	55	past and future talkfests. Papers presented at these gatherings are often the first indication of new directions. Nothing seems to focus the mind more than putting one's findings in front of one's peers.
Books, articles and reviews	1,922	the bibliography.

We've confirmed the obvious: that scholars, scientists and researchers have been exploring music's biological, physiological and psychological status and effect for ever (Plato was among the early ones and it's never stopped). Of greatest interest to us is that these explorations offer insights into music's socialisation, educational and healthcare applications.

What did surprise us (but on reflection, shouldn't have) was the diversity of disciplines, both within and beyond music, in which serious scientific investigation of music has occurred. We've found ourselves steering a course through:

Music psychology (including evolutionary psychology and emotion psychology)

Music therapy

Music cognition and perception (including neuroscience, neurobiology, brain function and development)

Ethnomusicology (including cultural anthropology)

Musicology and music theory

Music education

Music sociology

Infant and early childhood development

Aged care

Evolutionary biology (including the evolution of language and palaeoanthropology)

At which point, to avoid madness, we had to set ourselves some limits. We decided not to include material arising from the mass of research undertaken as to the social impact of community arts programs in general (this having been copiously documented elsewhere), and to avoid the area of social capital research (also well covered by others).

If all this remains overwhelming, you might like to browse just the most recent new research and reports that we've come across.

Or, you could check out the Music Council of Australia's Guide to Australian Research. This is a good place to find useful summaries and links.

This page contains 2,497 entries (most recently added to, 18/8/08) brought together by Community Music Victoria

Music and Brain

2010-04-09T18:30:00.000-07:00

Language, Music and Brain

20090723 Music and the Brain: Music, Criminal Behavior, and Crime Prevention

http://www.youtube.com/watch?v=lFTjfsEy27Y&feature=PlayList&p=6596D02DC1E30055&playnext_from=PL

LibraryOfCongress — 西元2009年07月23日 — A fascinating discussion of the use of classical music by law enforcement and other cultural institutions as social control, to quell and prevent crime. Their conversation touches on how classical music is viewed in contemporary culture, how it can be a tool for discouraging criminal activity and anti-social behavior, as well as its history as a mind-altering experience.

Dr. Jacqueline Helfgott, Seattle University [author of Criminal Behavior: Theories, Typologies, and Criminal Justice (2008)], and Norman Middleton, Library of Congress Music Division

20090723 Music and the Brain: The Music of Language and the Language of Music (Aniruddh Patel)

http://www.youtube.com/watch?v=2oMvtw4aeEY

Aniruddh Patel is the Esther J. Burnham Senior Fellow in Theoretical Neurobiology at the Neurosciences Institute.

20080122 Music and the Mind

http://www.youtube.com/watch?v=ZgKFeuzGEns&feature=related

20090727 Music and the Brain: From Mode to Emotion in Musical Communication

http://www.youtube.com/watch?v=HhnxOu1p-W0&feature=PlayList&p=6596D02DC1E30055&playnext_from=PL

LibraryOfCongress — 西元2009年07月27日 — Music employs a number of mechanisms for conveying emotion. Some of them are shared with other modes of expression (speech, gesture) while others are specific to music. The most unique way that music communicates emotion is through the use of contrastive scale types. While Westerners are familiar with the major/minor distinction, the use of contrastive scale types in world musics is universal.

Looking at the expression of emotion in both Western and non-Western musics, Brown invokes the theory of Clore and Ortony, who posit three categories of emotions 1) "outcome" emotions related to the outcomes of goal-directed actions (e.g., happiness, sadness); 2) "aesthetic" emotions related to the appraisal of the quality of objects (e.g., like, dislike); and 3) "moral" emotions related to an assessment of the agency of individuals actions (e.g., praise, scorn). While representational art-forms like theater or dance can represent all three categories, music is probably most adept at expressing "outcome" emotions, such those that sit along the happy/sad spectrum.

Speaker: Steven Brown, Director, NeuroArts Lab, McMaster University

20090728 Music and the Brain: The Mind of an Artist

http://www.youtube.com/watch?v=NwzUPQKesVI&feature=PlayList&p=6596D02DC1E30055&playnext_from=PL

LibraryOfCongress — 西元2009年07月28日 — Michael Kubovy and Judith Shatin, both from the University of Virginia, discuss "The Mind of the Artist." Debate has long raged about whether and how music expresses meaning beyond its sounding notes. Kubovy and Shatin discuss evidence that music does indeed have a semantic element, and offer examples of how composers embody extra-musical elements in their compositions.

Michael Kubovy is a cognitive psychologist who studies visual and auditory perception.

Judith Shatin is a composer who explores music's expressive meaning.

20090730 Music and the Brain: Depression and Creativity Symposium

http://www.youtube.com/watch?v=k4UJhPiBE6c&feature=channel

LibraryOfCongress — 西元2009年07月30日 — Kay Redfield Jamison, professor of psychiatry and behavioral sciences and co-director of the Johns Hopkins Mood Disorders Center at the Johns Hopkins University School of Medicine, convened a discussion of the effects of depression on creativity. Joining Jamison were two distinguished colleagues from the fields of neurology and neuropsychiatry, Dr. Terence Ketter and Dr. Peter Whybrow. The Music and the Brain series is co-sponsored by the Library's Music Division and Science, Technology and Business Division, in cooperation with the Dana Foundation.

The "Depression and Creativity" symposium marks the bicentennial of the birth of German composer Felix Mendelssohn (1809-1847), who died after a severe depression following the death of his sister, Fanny Mendelssohn Hensel, also a gifted composer.

One of the nation's most influential writers on creativity and the mind, Kay Redfield Jamison is a noted authority on bipolar disorder. She is the co-author of the standard medical text on manic-depressive illness and author of "Touched with Fire," "An Unquiet Mind," "Night Falls Fast" and "Exuberance: The Vital Emotion."

Dr. Terence Ketter is known for extensive clinical work with exceptionally creative individuals and a strong interest in the relationship of creativity and madness. He is professor of psychiatry and behavioral sciences and chief of the Bipolar Disorders Clinic at Stanford University School of Medicine.

Dr. Peter Whybrow, an authority on depression and manic-depressive disease, is director of the Semel Institute for Neuroscience and Human Behavior at the University of California, Los Angeles (UCLA). He is also the Judson Braun Distinguished Professor and executive chair of the Department of Psychiatry and Biobehavioral Sciences at the David Geffen School of Medicine at UCLA.

20090813 Music and the Brain: The World in Six Songs: How the Musical Brain Created Human Nature

http://www.youtube.com/watch?v=XyweM3CH-u0&feature=related

LibraryOfCongress — 西元2009年08月13日 — Director of McGill University's Laboratory for Musical Perception, Cognition and Expertise and best-selling author of "This is Your Brain on Music," Daniel Levitin blends cutting-edge scientific findings with his own experiences as a former record producer and still-active musician.

Daniel Levitin is a cognitive psychologist, neuroscientist, record producer, musician, and writer. He is currently James McGill Professor of Psychology and Behavioral Neuroscience at McGill University in Montreal. He has published scientific articles on absolute pitch, music cognition and neuroscience and is more widely known as the author of two best-selling books, "This Is Your Brain On Music: The Science of a Human Obsession" and "The World in Six Songs: How the Musical Brain Created Human Nature." He worked as a producer and sound designer on albums by Blue Oyster Cult, Chris Isaak, and Joe Satriani; as a consultant to Steely Dan and Stevie Wonder; and as a recording engineer for Santana and The Grateful Dead.

20091204 Music and the Brain: Wednesday is Indigo Blue: How Synesthesia Speaks to Creativity

http://www.youtube.com/watch?v=ex8UYOJtddA

LibraryOfCongress — 西元2009年12月04日 — Dr. Richard E. Cytowic, George Washington Medical Center

Neurologist Richard Cytowic rediscovered the involuntary joining of different senses in 1980 and returned it to the scientific mainstream. In his recent book, "Wednesday is Indigo Blue," Cytowic sums up 30 years of exploration into synesthesia's place in both science and art. Far from a mere curiosity, it is an elevated form of the perception everyone already has. Minds that function differently are not so strange after all, and everyone can learn from them. Brains are already highly cross-wired, and with 1 in 23 people having the trait, synesthesia may hold a key to human creativity.

20090210 Capturing Sound: How Technology Has Changed Music

http://www.youtube.com/watch?v=18Wl6ws9Als&feature=channel

LibraryOfCongress — 西元2009年02月10日 — Mark Katz, a professor at the Peabody Conservatory of Music at The Johns Hopkins University, discussed his book, "Capturing Sound: How Technology Has Changed Music." The event was sponsored by the Library's John W. Kluge Center, the Music Division and the Motion Picture, Broadcasting and Recorded Sound Division. According to Katz, who teaches in the Department of Musicology at the Peabody, there is more to sound recording than just recording sound. Not just a tool for the preservation of music, the technology is a catalyst for change. In "Capturing Sound," Katz writes a wide-ranging, informative and entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet.

Current Trends in Music Technology

http://www.youtube.com/watch?v=V1fMJlIK8XY&feature=related

remo2012 — 西元2009年06月17日 — The Internet Legend, Herbert Midgley, does a short lecture and Q and A with a University of Houston class using Gmail's Video Chat.

Lenneberg (1967) Resources

2009-01-24T17:01:00.000-08:00

Lenneberg -- Biological Foundations of Language -- 1967

Google Web Search :: Google Scholar HOME

Google Scholar HOME

http://www.isrl.uiuc.edu/~amag/langev/cited2/lennebergbiologicalfoundationsoflanguage.html

2008-Cost and complexity: Selection for speech and language - Locke Lenneberg, E.H., 1967. Biological Foundations of Language. Wiley, New York.

2006-Language and Morality: Evolution, Altruism and Linguistic Moral Mechanisms - Poulshock Lenneberg, E. (1967). Biological foundations of language. New York: John Wiley.

2005-The evolution of the language faculty: Clarifications and implications - Fitch,Hauser,Chomsky Lenneberg, E. H. (1967). Biological Foundations of Language. New York, NY: Wiley.

2005-Regularizing Unpredictable Variation: The Roles of Adult and Child Learners in Language Formation and Change - Hudson-Kam,Newport Lenneberg, E. (1967). Biological foundations of language. New York: Wiley.

2005-Language Change in Modified Language Dynamics Equation by Memoryless Learners - Nakamura,Hashimoto,Tojo E. H. Lenneberg. Biological Foundations of Language. John Wiley & Sons, Inc., New York, 1967.

2005-Language Acquisition and Brain Development - Sakai 10. E. H. Lenneberg, Biological Foundations of Language (Wiley, New York, 1967).

2005-How Phonological Structures Can Be Culturally Selected for Learnability - Oudeyer Lenneberg, E. (1967). Biological foundations of language. New York: Wiley.

2004-Early language acquisition: cracking the speech code - Kuhl 134. Lenneberg, E. H. Biological Foundations of Language (Wiley, New York, 1967).

2004-Children Creating Core Properties of Language: Evidence from an Emerging Sign Language in Nicaragua - Senghas,Kita,Ozyurek 21. E. Lenneberg, Biological Foundations of Language ( Wiley, New York, 1967).

2002-The Faculty of Language: What Is It, Who Has It, and How Did It Evolve? - Hauser,Chomsky,Fitch 6. E. H. Lenneberg, Biological Foundations of Language (Wiley, New York, 1967).

2002-Simulated Evolution of Language: a Review of the Field - Perfors LENNEBERG, E. (1967) Biological foundations of language. New York: Wiley.

2002-On the nature and evolution of the neural bases of human language - Lieberman Lenneberg EH. 1967. Biological foundations of language. New York: Wiley.

2002-Natural Language from Artificial Life - Kirby Lenneberg, E. (1967). Biological Foundations of Language. Wiley.

2001-Origins and Learnability of Syllable Systems: a Cultural Evolutionary Model - Oudeyer 13. Lenneberg, E. Biological foundations of language, New-york: Wiley (1967).

2001-Natural selection of the critical period for language acquisition - Komarova,Nowak Lenneberg, E. H. 1967 Biological foundations of language. NewYork: Wiley.

2000-Simulated Evolution of Communication: The Emergence of Meaning - Perfors Lenneberg, E. (1967) Biological foundations of language. New York: Wiley

1999-Syntax as an emergent characteristic of the evolution of semantic complexity - Schoenemann Lenneberg, E. H. (1967), Biological Foundations of Language, New York: John Wiley & Sons, Inc.

1997-The evolution of incremental learning: language, development and critical periods - Kirby,Hurford LENNEBERG, ERIC H. 1967. Biological Foundations of Language. New York: Wiley.

1997-Learning, culture and evolution in the origin of linguistic constraints - Kirby,Hurford [27] Eric H. Lenneberg. Biological Foundations of Language. Wiley, New York, 1967.

1991-The Evolution of the Critical Period for Language Acquisition - Hurford Lenneberg, E.H., 1967. Biological foundations of language. Wiley, New York.

1990-Natural language and natural selection - Pinker,Bloom Lenneberg, E. H. (1967) Biological foundations of language. Wiley.

The name assigned to the document by the author. This field may also contain sub-titles, series names, and report numbers.BIOLOGICAL FOUNDATIONS OF LANGUAGE.

http://eric.ed.gov/ERICWebPortal/custom/portlets/recordDetails/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED015480&ERICExtSearch_SearchType_0=no&accno=ED015480

Title:

Authors:

LENNEBERG, ERIC H.

Abstract:

THE RELATIONSHIP BETWEEN BIOLOGY AND LANGUAGE IS EXPLORED IN THIS VOLUME. THE AUTHOR BELIEVES THAT "LANGUAGE IS THE MANIFESTATION OF SPECIES-SPECIFIC COGNITIVE PROPENSITIES. IT IS THE CONSEQUENCE OF THE BIOLOGICAL PECULIARITIES THAT MAKE A HUMAN TYPE OF COGNITION POSSIBLE." IN ATTEMPTING TO "REINSTATE THE CONCEPT OF THE BIOLOGICAL BASIS OF LANGUAGE CAPACITIES" THE AUTHOR FORMULATES SPECIFIC ASSUMPTIONS WHICH CAN BE SUBJECTED TO EMPIRICAL TESTS. CHAPTER TITLES ARE—

(1) THE CONCEPTUAL FRAMEWORK,

(2) MORPHOLOGICAL CORRELATES,

(3) SOME PHYSIOLOGICAL CORRELATES,

(4) LANGUAGE IN THE CONTEXT OF GROWTH AND MATURATION,

(5) NEUROLOGICAL ASPECTS OF SPEECH AND LANGUAGE,

(6) LANGUAGE IN THE LIGHT OF EVOLUTION AND GENETICS,

(7) PRIMITIVE STAGES IN LANGUAGE DEVELOPMENT,

(8) LANGUAGE AND COGNITION, AND

(9) TOWARD A BIOLOGICAL THEORY OF LANGUAGE DEVELOPMENT.

NOAM CHOMSKY IS THE AUTHOR OF APPENDIX A, "THE FORMAL NATURE OF LANGUAGE," AND

O. MARX HAS WRITTEN APPENDIX B, "THE HISTORY OF THE BIOLOGICAL BASIS OF LANGUAGE." EXTENSIVE REFERENCES ARE LISTED AFTER EACH CHAPTER.

THIS BOOK IS PUBLISHED BY JOHN WILEY AND SONS, INC., 605 THIRD AVENUE, N.Y., N.Y. 10016 ($14.95). (JD)

Descriptors:

Anatomy; Aphasia; Behavioral Science Research; Biology; Cognitive Development; Deafness; History; Language; Language Acquisition; Language Handicaps; Language Learning Levels; Language Patterns; Language Research; Linguistics; Medical Case Histories; Psycholinguistics; Research; Research Reviews (Publications); Semantics; Speech; Speech Evaluation; Speech Pathology; Transformational Generative Grammar; Verbal Communication

Traumatic Aphasia

2008-11-28T06:42:00.000-08:00

A. R. Luria (1902-1977)

AREAS OF THE HUMAN CORTEX INVOLVED IN LANGUAGE

BrainInfo

A Synopsis of Luria's Traumatic Aphasia

CORTICAL ORGANIZATION OF LANGUAGE FUNCTIONS

AUDITORY APHASIAS

AFFERENT MOTOR APHASIAS

EFFERENT MOTOR APHASIAS

SEMANTIC APHASIAS

LB 023-024T 勝芬

2008-11-26T14:06:00.001-08:00

LB 023-025T 勝芬

LB 023-025

Chapter 1- V. Relationship between Form and Behavior

When the term learning theory is used, it is ordinarily applied to universal aspects of learning. Psychologists who concern themselves with such theories point out sometimes that there are some aspects of behavior to which the theories do not apply, as, for instance, the swallowing mechanisms in pigeons, the peculiarities of a buzzard’s flight, or the phonetic differences between meowing and barking. These phenomena are considered to be appropriate subjects for the biologist but not for the behaviorist. The distinction between biological and psychological aspects of behavior may be possible in certain instances, particularly in behavioral phenomena observed in laboratory experiments, but in many more instances there is no way of telling whether a given phenomenon ought to be explained (or investigated) in terms of psychological or biological mechanisms. We have criticized this distinction throughout this chapter, but we must add one more reason for abolishing the distinction.

當我們提及「學習理論」(Learning theory) ，通常講得是universal aspects of learning學習的世界觀。心理學家涉及這些理論時，Psychologists who concern themselves with such theories有時候會指出這些理論不適用於there are some aspects of behavior一些動物行為當中，例如：鴿子吞嚥的機制；鵟鷹鷲buzzard鳥飛行的獨特性；或是貓叫和狗吠聲韻phonetic上的不同。這些現象恰如其分的被視為生物學家研究的appropriate subjects for the biologist but not for the behaviorist課題，而非行為學家。動物行為在生理層面和心理層面的差別，或許在某些情況中能有所區別The distinction … may be possible in certain instances, particularly in behavioral phenomena observed in laboratory experiments，但在many more instances大部分的狀況裡，我們無法單there is no way of telling whether a given phenomenon ought to be用生理結構或心理mechanisms結構來解釋(或研究)某種現象。我們已經在整個章節中批評此種區別，但我們仍必須再加上一項屏除此種區別的理由。

It is often thought that behavior which is executed by or is dependent upon a peculiar structure typical of a certain type of animal must therefore be biologically based. The grasping movements of an elephant are of no particular relevance to learning theory; they are said to be species-specific and biological! A corollary to this kind of reasoning is that the absence of a special structure or organ should be a criterion for the psychological nature of the behavior. Thus it has been pointed out time and again that man has evolved no special organ for speech, the implication being that we are simply making use of the organs for eating and breathing in our efforts to communicate. This is seriously offered as evidence for the arbitrary, learned, artifactual nature of language.

我們通常會認為It is often thought that behavior which某種特定的行為，是依賴某種特定生物的獨特構造所操控，must therefore be biologically based因此和生物學脫不了干係。大象抓握的動作和學習理論沒有特別的關係，他們說這就是species-specific and biological物種特性和生物本能。這種推論的必然結果，就是absence of a special structure or organ特殊構造或器官應該當作a criterion for the psychological nature of the behavior行為的自然心理標準。因此，人類物種it has been屢次被指出，並沒有發展出特殊的器官來說話，the implication being that we are simply making use of the organs for eating and breathing in our efforts to communicate這些器官只簡單被用來進食和呼吸進而努力嘗試來溝通。這種說法seriously offered as evidence for的證明了語言的任意性、可學性和人造性。

The reasoning here is poor, however. The relationship between the outer form of an animal to its species-specific behavior repertoire is not always clear. So many factors influence this relationship that no canonical truths about innateness may be inferred from it.

然而此理論的reasoning立場相當薄弱，The relationship between動物的外在形體和特定物種的behavior repertoire行為表現，並沒有相對的關係is not always clear，許多因素都影響著這層關係，沒有任何標準的真相no canonical truths about innateness可從中推論而得。

Brain Rules

2008-11-24T03:02:00.001-08:00

Brain Rules http://www.brainrules.net/

EXERCISE | Rule #1: Exercise boosts brain power.

SURVIVAL | Rule #2: The human brain evolved, too.

WIRING | Rule #3: Every brain is wired differently.

ATTENTION | Rule #4: We don't pay attention to boring things.

SHORT-TERM MEMORY | Rule #5: Repeat to remember.

LONG-TERM MEMORY | Rule #6: Remember to repeat.

SLEEP | Rule #7: Sleep well, think well.

STRESS | Rule #8: Stressed brains don't learn the same way.

SENSORY INTEGRATION | Rule #9: Stimulate more of the senses.

VISION | Rule #10: Vision trumps all other senses.

GENDER | Rule #11: Male and female brains are different.

EXPLORATION | Rule #12: We are powerful and natural explorers.

Cezanne

2008-11-24T00:43:00.001-08:00

Paul Cézanne (1839-1906)

Paul Cézanne (IPA: [pɔl se'zan]; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.

Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.

Rideau, Cruchon et Compotier, 簾子、罐子、盤子1893-94

$60.5 - $78.3 Million

Rideau, Cruchon et Compotier is a painting created in about 1893 to 1894 by French artist Paul Cézanne (January 19, 1839 – October 22, 1906). It is considered the most expensive still life ever sold at an auction.

Cézanne was famous for drawing still lifes, especially those which expressed complex emotions while still being based upon reality. These type of paintings would eventually lead up to the creation of new art styles during the 20th century such as Picasso's cubism.

Elephant Art

2008-11-23T14:15:00.000-08:00

Elephant Art

The Asian Elephant Art & Conservation Project

Elephant Painting Self Portrait 6’46”

Elephant Art 3’11”

ORIGINAL Elephant Painting 8’28”

Elephant Art, Chiang Mai, Thailand 4’55”

Van Gogh

2008-11-23T13:40:00.000-08:00

Vincent van Gogh (1853-1890)

Portrait of Dr. Gachet (1890)

$82.5 - $136.1 Million

Portrait of Dr. Gachet is one of the most revered paintings by Dutch artist Vincent van Gogh and fetched a record price of $82.5 million ($75 million, plus a 10 percent buyer's commission)^[1] in 1990.

There are two authentic versions of this portrait, both painted in June 1890 during the last months of Van Gogh's life. Both show Doctor Gachet sitting at a table and leaning his head onto his right arm, but they are easily differentiated.

The portraits were painted in Auvers-sur-Oise close to Paris, and depict Doctor Paul Gachet with a foxglove (Fingerhut 指顶花 Digitalis 洋地黄) plant. Gachet took care of Van Gogh during the artist's last months. Gachet was a hobby painter and became good friends with Van Gogh. The foxglove in the painting is a plant from which digitalis is extracted for the treatment of certain heart complaints; the foxglove is thereby an attribute of Gachet as a doctor.

Ah! portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come."^[3]

Van Gogh wrote to his brother in 1890 about the painting:

”I've done the portrait of M. Gachet with a melancholy expression, which might well seem like a grimace to those who see it... Sad but gentle, yet clear and intelligent, that is how many portraits ought to be done... There are modern heads that may be looked at for a long time, and that may perhaps be looked back on with longing a hundred years later. “

Irises鳶尾花 1889

$53.9 - $102.3 Million

Irises is a painting by the Dutch artist Vincent van Gogh. It was one of his first works while he was at the asylum at Saint Paul-de-Mausole in Saint-Rémy-de-Provence, France in the last year before his death in 1890.

It was painted before his first attack at the asylum. There is a lack of the high tension which is seen in his later works. He called the painting "the lightning conductor for my illness", because he felt that he could keep himself from going insane by continuing to paint.

The painting was influenced by Japanese ukiyo-e 浮世絵 woodblock prints (木版印刷（もくはんいんさつ）), like many of his works and those by other artists of the time. The similarities occur with strong outlines, unusual angles, including close-up views and also flattish local colour (not modelled according to the fall of light).

Portrait de l'artiste sans barbe 1889

$71.5 –$94.6 Million

Van Gogh painted Self-Portrait without beard just after he had shaved himself. The self-portrait is one of the most expensive paintings of all time, selling for $71.5 million in 1998 in New York. At the time, it was the third (or an inflation-adjusted fourth) most expensive painting ever sold.

Vincent van Gogh created many self-portraits during his lifetime. Most probably, Van Gogh's self portraits are depicting the face as it appeared in the mirror he used to reproduce his face, i.e. his right side in the image is in reality the left side of his face. All Self-Portraits executed in Saint-Rémy show the artist's head from the left, i.e. the side with ear not mutilated.

A Wheatfield with Cypresses 1889 《麥田裡的絲柏樹》

$57 - $85.1 Million

Vase with Fifteen Sunflowers 1888

$39.7 - $75.4 Million

Sunflowers (original title, in French, Tournesols) are the subject of a series of still life paintings executed in oil on canvas by the Dutch painter Vincent van Gogh. Among the Sunflowers paintings are three similar paintings with fifteen sunflowers in a vase, and two similar paintings with twelve sunflowers in a vase.

Van Gogh began painting in late summer 1888 and continued into the following year. One went to decorate his friend Paul Gauguin's bedroom. The paintings show sunflowers in all stages of life, from fully in bloom to withering. The paintings were innovative for their use of the yellow spectrum, partly because newly invented pigments made new colours possible. In a letter to his brother Theo, van Gogh wrote: the sunflower is mine in a way.

Sunflowers, the complete series of paintings.

Analysis of two sunflower paintings.

Account of the controversy over van Gogh forgeries

Sunflowers - Zoomable version

Van Gogh - Paintings

Peasant Woman Against a Background of Wheat 1890

$47.5 - $63.8 Million

Peasant Woman Against a Background of Wheat is an 1890 painting by Vincent van Gogh. On October 7, 2005, it was announced that Stephen Wynn had sold the painting along with Gauguin's Bathers to Steven A. Cohen for $100 million.

Les femmes de Picasso

2008-11-23T06:26:00.000-08:00

Women in Picasso’s Life and Art

Les femmes de Pablo Picasso - The women of Pablo Picasso (1881-1973)

1904-1912 Fernande Olivier (1881-1966)

Artist model Fernande Olivier (1881-1966) was Picasso's first long term relation and subject of many of Picasso's Rose Period paintings (1905-07).

1912-1915 Marcelle Humbert (Eva Gouel 1885-1915)

Fernande left Picasso in 1912, months after Picasso took an interest in Marcelle Humbert, known as Eva Gouel (1885-1915).

Picasso was devastated by her early death due to tuberculosis or cancer in 1915. Picasso professed his love to Eva by painting "I Love Eva" in some of his paintings. Still, during Eva's sickness Picasso managed a relationship with Gaby Lespinasse.

1917-1927 Olga Khokhlova (1891-1955) First Wife

In 1917 ballerina Olga Khokhlova (1891-1955) met Picasso while the artist was designing the ballet "Parade" in Rome, to be performed by the Ballet Russe. They married in the Russian Orthodox church in Paris in 1918 and lived a life of conflict. She was of high society and enjoyed formal events while Picasso was more bohemian in his interests and pursuits. Their son Paulo (Paul) was born in 1921 (and died in 1975), influencing Picasso's imagery to turn to mother and child themes. Paul's three children are Pablito (1949-1973), Marina (born in 1951), and Bernard (1959).

1927-1936 Marie-Thérèse Walter (1909-1977)

In 1927 Picasso met Marie-Thérèse Walter (1909-1977), a 17 year old who Picasso then lived with in a flat across the street from his marital home (while still married to Olga). Marie-Thérèse and Picasso had a daughter, Maya (Maria de la Concepcion) on October 5, 1935. (Picasso and Olga later separated although they remained married so Olga would not receive half of Picasso's wealth -- until she died in 1955. ) Picasso's relation with Marie was kept from Olga until Olga was told of Marie's pregnancy. Marie understandably became jealous when Picasso started to fall in love with Dora Maar in 1936, a year after Maya was born. It was Marie-Thérèse who was the inspiration for many of Picasso's famous Vollard Suite etchings. Marie-Thérèse died by hanging herself in 1977, four years after Picasso died. Maya's son, Olivier Widmaier wrote "Picasso: The Real Family Story" about his artist grandfather, in 2004.

1936-1944 Dora Maar (Henriette Théodora Markovich 1907 -1997)

In 1936 54-year old Picasso met Yugoslavian Dora Maar (1907 -1997), the photographer who documented Picasso's painting of Guernica, the 1937 painting of Picasso's depiction of the German's having bombed the Basque city of Guernica, Spain during the Spanish Civil War. She became Picasso's constant companion and lover from 1936 through April, 1944. Maar went back to painting and exhibited in Paris soon after Picasso left her for Françoise. Picasso referred to Dora as his "private muse". In later years she became a recluse, dying poor and alone.

1943-1953 Françoise Gilot (1921-)

In 1943 Picasso (age 62) then kept company with young art student Françoise Gilot (born in 1921). Their two children were Claude (1947) and Paloma (1949) who was named for the dove of peace that Picasso painted in support of the peace movement post World War II. Gilot, frustrated with Picasso's relationships with other woman and his abusive nature left him in 1953. Gilot's book "Life with Picasso" was published 11 years after their separation. In 1970 she married American physician-researcher Jonas Salk (who later died in 1995).

1951-1953 Genevieve Laporte (1927-)

In 1944 17-year old Genevieve Laporte (born in 1927) interviewed Picasso for a school newspaper. Years later in May, 1951 Picasso began an affair with the then-24 year old. The relationship started when Laporte visited the 70-year old Picasso at his studio while he was still living with Françoise Gilot. That summer of 1951 Picasso took Laporte to St Tropez, leaving Françoise behind. After declining Picasso's invitation to move in with him in St. Tropez, she left him in 1953 at the same time that Françoise left the artist.

In 1972 she went public with the affair and stored the art that Picasso created of her in a safe. In 2005, at age 79, the poet Laporte auctioned 20 drawings of her that Picasso created during their secret affair. Picasso's time with Laporte has been referred to as Picasso's "tender period".

1953-1973 Jacqueline Roque (1926 -1986) Second Wife

Dejected and alone, in 1953 Picasso met Jacqueline Roque (1926 -1986) at the Madoura Pottery where Picasso created his ceramics. In 1961 (when Picasso was 79) she became his second wife. Picasso created more works of art based on Jacqueline than any of his other loves, in one year painting over 70 portraits of her.

When Picasso died on April 8, 1973, Jacqueline, who had been with Picasso for 20 years, prevented Picasso's children Claude and Paloma from attending his funeral. Jacqueline died from shooting herself in 1986.

1954 Sylvette David (Lydia Corbett)

Picasso

2008-11-23T05:19:00.000-08:00

Pablo Picasso (1881-1973)

Blue (1901–1904) · Rose (1904–1906) · African (1907–1909) · Cubism (1910–1919)

Lists of works: 1889-1900 · 1901-1910 · 1911-1920 · 1921-1930 · 1931-1940 · 1941-1950 · 1951-1960 · 1961-1970 · 1971-1973

Artworks: Chicago Picasso · Dora Maar au Chat · Femme aux Bras Croisés ·Garçon à la pipe · Guernica · Jacqueline · Le Rêve · Les Demoiselles d'Avignon · Les Noces de Pierrette · Maya with Doll · Nude on a black armchair · The Old Guitarist · Reading the Letter · Seated circus performer and boy · Sylvette · The Three Dancers · Three Musicians · The Weeping Woman · Woman in Hat and Fur Collar · Portrait of Suzanne Bloch

Les femmes de Pablo Picasso - The women of Pablo Picasso (1881-1973)

Garçon à la pipe 1905

$104.2 Million

Garçon à la Pipe (Boy with a Pipe) is a painting by Pablo Picasso. It was painted in 1905 when Pablo Picasso was 24 years old, during his Rose Period, soon after he settled in the Montmartre section of Paris, France. The oil on canvas painting depicts a Parisian (a person from Paris) boy holding a pipe in his left hand and wearing a garland or wreath of flowers.

Dora Maar au Chat 1941

$95.2 Million

Dora Maar au Chat (Dora Maar with Cat) is a 1941 painting by Pablo Picasso. It depicts Dora Maar (Henriette Théodora Markovich - Dora Maar (1907-1997) ), the painter's Croatian mistress, seated on a chair with a small cat perched on her shoulders. This painting is world-famous and is now one of the world's most expensive paintings.^[1]

Picasso fell in love with the 29-year old Maar at the age of 55 and soon began living with her. This painting was done during the year 1941, when the Nazis were occupying France.

Dora Maar au Chat presents the artist's most mysterious and challenging mistress regally posed three-quarter length in a large wooden chair with a small black cat perched behind her in both an amusing and menacing attitude. The faceted planes of her body and richly layered surface of brushstrokes impart a monumental and sculptural quality to this portrait. The painting is also remarkable for its brilliance of colour and the complex and dense patterning of the model's dress. The powerful figure is set in a dramatic, yet simple setting composed of a vertiginously inclined plane of wooden floorboards and shallow interior space that is arranged in a manner reminiscent of Picasso’s earliest manipulations of space in a cubist manner.

Dora Maar au Chat is one of Picasso’s most valued depictions of his lover and artistic companion. Their partnership had been one of intellectual exchange and intense passion -- Dora was an artist, spoke Picasso’s native Spanish, and shared his political concerns. She even assisted with the execution of the monumental Guernica and produced the only photo-documentary of the work in progress. She was an intellectual force – a characteristic that both stimulated and challenged Picasso and her influence on him resulted in some of his most powerful and daring portraits of his 75-year career. Among the best of them are the oils completed during the late 1930s and early 1940s, when Picasso’s art resonated with the drama and emotional upheaval of the era and which Dora came to personify. The luminous Dora Maar au Chat was painted in 1941, at the beginning of the Second World War in France .

Maar was one of the most influential figures in Picasso’s life during their relationship and she also became his primary model. By the time he painted the present picture he had incorporated Dora Maar’s image into countless versions of this motif. During the occupation of Paris by the Nazis, and as tension mounted in their relationship, the artist would express his frustration by furiously abstracting her image, often portraying her in tears. While the present portrait might seem a departure from Picasso's more hostile depictions of this model, it may be one of his most brilliant and biting provocations of his Weeping Woman. Picasso once likened Maar’s allure and temperament to that of an “Afghan cat”, and the cat in this picture is laden with significance. In the history of art, the pairing of cats and women was an allusion to feminine wiles and sexual aggression, as exemplified in Manet’s notorious Olympia. It is also interesting to consider that the artist has paid particular attention to the sharp, talon-like nails on the long fingers of his model. In life Maar’s well-manicured hands were one of her most beautiful and distinctive features, and here they have taken on another, more violent characteristic.

In addition to being a rare, three-quarter length portrait of Dora Maar, the present work is also a generous and painterly composition with an extraordinary attention to detail. The artist used an extraordinarily vibrant palette in his rendering of the angles of the chair and the patterning of Maar’s dress. The most embellished and symbolic element of the sitter’s wardrobe in this picture is her hat, Maar’s most famous accessory and signifier of her involvement in the Surrealist movement. Ceremoniously placed atop her head like a crown, it is festooned with colourful plumes and outlined with a band of vibrant red. Larger than life, an impression enhanced by her vibrant body that cannot be confined by the boundaries of the chair, Maar looms in this picture like a pagan goddess seated on her throne.

"Mystery Bidder Spends $95 Million on a Picasso", Carol Vogel, New York Times, May 4, 2006.

"Picasso's 'Dora Maar au Chat' Sells for $95.2 Mln at Sotheby's", Lindsay Pollock and Philip Boroff, Bloomberg.com, May 3, 2006.

"Pablo Picasso Portrait of Dora Maar brings $95,216,000 at Sotheby's", News-Antique.com, May 4, 2006.

"Recognize This Man? The Art World Doesn't", Carol Vogel, New York Times, May 6, 2006.

The Hunt for the Red Collector, Marc Spiegler, New York Magazine, Aug 26, 2006

Who is the mystery buyer of the $95m Picasso?, Telegraph, Sept 3 2006.

Sotheby's: About the painting and its features

Sotheby's: Full story of the auction on 3rd May 2006, New York

Femme aux Bras Croisés 1902

$55.0 Million

Femme aux Bras Croisés (Woman with Folded Arms), is a painting by Pablo Picasso done in 1902 during his Blue Period. The subject of the painting is unknown, but may be an inmate of the Saint-Lazare hospital-prison in Paris.^[1]

In her book Pablo Picasso, Antonina Vallentin devotes a great deal of time to writing about the haunting qualities of this painting. She describes her views of the subject as an inmate, who recently attempted suicide and now carries the blank but menacing stare of those unfortunates who found themselves at Saint-Lazare during the early 1900s.^[2]

Melikian, Souren (2000-11-10). "AUCTIONS : A Picasso Record", International Herald Tribune.

Vallentin, Antonina (1957). Pablo Picasso. A. Michel, 69.

"Picasso for sale - a snip at £16m", BBC News Online (2000-09-15).

Femme assise dans un jardin 1938

$49.6 Million

Les Noces de Pierrette 1905

Les Noces de Pierrette is a 1905 painting created by Spanish artist and sculptor, Pablo Picasso. Its title translates as "The marriage of Pierrette" and was created during Picasso's Blue Period; a time when he faced continual depression from the suicide of his friend Carlos Casagemas in 1901 as well as continual poverty early in his career.

$49.3 Million

Le Rêve ^[10]1932

$48.4 Million

Le Rêve (The Dream in French) is a 1932 oil painting (130 x 97 cm) by the 50-year old Pablo Picasso portraying his 24-year old mistress, Marie-Thérèse Walter. It is said to have been painted in one afternoon, on January 24, 1932. It belongs to Picasso's period of distorted depictions, with its oversimplified outlines and contrasted colors resembling early Fauvism.

The erotic content of the painting has been noted repeatedly, with critics pointing out that Picasso painted an erect penis, presumably symbolizing his own, in the upturned face of his model.^[1]

Kelly Devine Thomas. Say It with Flowers—or Gourds, Goats, Fur Cups, or Fried, ARTNews, September 2006

Lee Rosenbaum "Dr. Gachet" sighting: it WAS Flöttl!, CultureGrrl, Jan 26, 2007

Marc Spiegler. Vom Traum zum Alptraum, Artnet.de, 17 January 2007

Nora Ephron. My Weekend in Vegas, The Huffington Post, 16 October 2006.

Nick Paumgarten. The $40-million elbow, The New Yorker, 23 October 2006

Complaint of Wynn against Lloyd's, The Smoking Gun

David Glovin. Wynn Settles Insurance Suit With Lloyd's Over a Torn Picasso, Bloomberg, 23 March 2007

Yo, Picasso 1901

$47.85 Million

Au Lapin Agile 1904

"In Lapin Agile or Harlequin with a Glass"

$40.7 Million

Acrobate et jeune Arlequin ^[9]1905

$38.5 Million

Nude on a black armchair (Nu au Fauteuil Noir) 1932

45.1 million

Nude in a Black Armchair (Nu au Fauteuil Noir) is a portrait painted by Pablo Picasso on March, 9, 1932^[1] of his mistress Marie-Thérèse Walter (1909-1977). It is currently owned by Les Wexner, founder of Limited Brands. It was sold for 45.1 million USD in 1999. Wexner donated the piece to the Wexner Center for the Arts at The Ohio State University. He provided major funding for the center. Former Museum of Modern Art curator William Rubin deemed it a "squishy sexual toy,"^[2] with other critics describing a theme of fecundity being mutually displayed by both the female figure and the plant.^[2] The first and the largest of a series of 1932 Marie-Thérèse Walter portraits, Picasso lived outside of Paris, in Boisgeloup, at the time.^[1]

Guernica 1937

Guernica is a painting by Pablo Picasso, showing the Nazi German bombing of Guernica, Spain, by twenty-eight bombers, invited by leader of the coup Fascist General Francisco Franco on April 26, 1937 during the Spanish Civil War (17 July 1936 to 1 April 1939), an attempted coup d'état committed by parts of the army against the government of the Second Spanish Republic. The attack killed between 250 and 1,600 people, and many more were injured.

The Spanish rulers commissioned Pablo Picasso to create a large mural for the Spanish display at the Paris International Exposition (the 1937 World's Fair in Paris). The Guernica bombing inspired Picasso. Guernica shows the tragedies of war and the suffering war inflicts upon individuals. This monumental work has eclipsed the bounds of a single time and place, becoming a perpetual reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed. Within fifteen days of the attack, Pablo Picasso began painting this mural. This tour brought the Spanish civil war to the world's attention.

Guernica is of remarkable size, solely black and white, 3.5 metre (11 ft) tall and 7.8 metre (25.6 ft) wide, a mural-size canvas painted in oil. Picasso's purpose in painting it was not to create the non-representational abstraction typical of some of his contemporaries, such as Kazimir Malevich. Guernica presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white conveys the chronological nearness of a newspaper photograph and the lifelessness war affords.

Guernica depicts suffering people, animals, and buildings wrenched by violence and chaos.

The overall scene is within a room where, at an open end on the left, a wide-eyed bull stands over a woman grieving over a dead child in her arms.

The centre is occupied by a horse falling in agony as it had just been run through by a spear or javelin. The shape of a human skull forms the horse's nose and upper teeth.

Two "hidden" images formed by the horse appear in Guernica (illustrated to the right):

A human skull overlays the horse's body.

A bull appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee cap forms the head's nose. A horn appears within the horse's breast.

The bulls tail forms the image of a flame with smoke rising from it, seemingly appearing in a window created by the lighter shade of gray surrounding it.

Under the horse is a dead, apparently dismembered soldier, his hand on a severed arm still grasps a shattered sword from which a flower grows.

A light bulb blazes in the shape of an eye over the suffering horse's head (the bare bulb of the torturer's cell.)

To the upper right of the horse, a frightened female figure, who seems to be witnessing the scenes before her, appears to have floated into the room through a window. Her arm, also floating in, carries a flame-lit lamp.

From the right, an awe-struck woman staggers towards the center below the floating female figure. She looks up blankly into the blazing light bulb.

Daggers that suggest screaming replace the tongues of the bull, grieving woman, and horse.

A bird, possibly a dove, stands on a shelf behind the bull in panic.

On the far right, a figure with arms raised in terror is entrapped by fire from above and below.

A dark wall with an open door defines the right end of the mural.

There are stigmata (the supposed marks on the hands of those who have "suffered as Jesus") on the hands of the dead soldier. Picasso was not religious, although he was brought up in the predominantly Catholic Spain, and these symbols are not to be interpreted as Christian identification.^{[citation needed]} This, instead, reflects the idea that all of us suffer often without cause.^{[citation needed]} Here Picasso is using a well recognisable image to demonstrate how we are all like Christ, in that we all suffer and eventually die.^{[citation needed]}

Symbolism in Guernica

Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career."

When pressed to explain them in Guernica, Picasso said, "...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are."^[1]

In "The Dream and Lie of Franco," a series of narrative sketches also created for the World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of these relate directly to the Guernica mural.

Picasso said as he worked on the mural: “The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death.”^[2]

A 3D Exploration of Picasso's Guernica

Guernica - Zoomable version.

Art Opposes Injustice! — Picasso's Guernica: For Life by Dorothy Koppelman

Guardian: Picasso's Guernica Battle Lives On April 26 2007

PBS Treasures of the World - Guernica: Testimony of War

Picasso's "Secret" Guernica

Socialist Worker: Guernica: Shock and Awe in Paint April 24 2007

The New Yorker: Spanish Lessons, Picasso in Madrid by Peter Schjeldahl, June 19 2006

The Painting, Guernica by Julián Ríos, October 2004

The Roots of Modern Art: Guernica @ The Galilean Library

Toronto Star: The Lessons of Guernica by William Walker, February 9 2003

X-ray Shows Picasso's Guernica Painting has Suffered a lot but is not in Danger Associated Press, July 23 2008

Academy of Neuroscience

Taida

Internet Biosemiotics Resources台大演講網 「展望」系列演講

人是萬物之靈？- 看我們和動物有多相近！ 杜銘章 教授 (國立師範大學生命科學系)

人之異於禽獸幾希？ - 從基因組看人的演化 周成功 教授

大開眼界 - 動物的視覺與行為 國立清華大學 焦傳金 教授

生物訊號溝通的管道 - 人為干擾的負面效應 嚴宏洋 研究員 (中研院細胞與個體生物學研究所)

大腦如何控制動物行為？- 基因與神經網路的可塑性 江安世 所長 (國立清華大學生物科技研究所)

由基因看演化 - 從果蠅的複眼談發育的演化歷程 孫以瀚 研究員

誰才是贏家？- 病毒與宿主間的戰爭與妥協 羅竹芳 教授

令人「又怕又愛」的新科技 - 從動物之生殖技術、基因轉殖、與複製科技談起 鄭登貴 教授 (國立臺灣大學動物科學技術學系)

追瘤計畫 - 偵搜與追殺流竄轉移之癌細胞的新科技 白果能 博士 (中研院生物醫學科學研究所)

追夢計畫-談資訊工程在睡眠醫學的應用 陽明大學腦科研究所 郭博昭教授

Biolinguistic Turn

Biolinguistic Turn

Language and the Mind Revisited - The Biolinguistic Turn

Language and the Mind Revisited - The Rest of the World

Grey Matters: Understanding Language

The Origin of the Human Mind: Brain Imaging and Evolution

Emoto

Masaru Emoto - 1 of 4

Masaru Emoto - 2 of 4

Masaru Emoto - 3 of 4

Masaru Emoto - 4 of 4

Extended Mind

The Extended Mind: Recent Experimental Evidence (Rupert Sheldrake (1942 -))

ABSTRACT

Speaker: Rupert Sheldrake (1942 -)

Rupert Sheldrake - The Extended Mind - The Sense Of Being Stared At. Pt 1/3

The Man With The Extended Mind (1/4)

Patel

Patel, A.D. (2008). Music, Language, and the Brain.

20090723 Music and the Brain: The Music of Language and the Language of Music (Aniruddh Patel)

20080122 Music and the Mind

Book: Patel, A.D. (2008). Music, Language, and the Brain. NY: Oxford University Press. (Link to OUP website and sound examples) (Link to Amazon) (ASCAP award)

Papers:

Musilanguage

Musilanguage Research Resources (Community Music Victoria)

Musilanguage - Model of Music Evolution (Steven Brown)

We've put our findings together into six sections:

Music psychology (including evolutionary psychology and emotion psychology)

Music therapy

Music cognition and perception (including neuroscience, neurobiology, brain function and development)

Ethnomusicology (including cultural anthropology)

Musicology and music theory

Music education

Music sociology

Infant and early childhood development

Aged care

Evolutionary biology (including the evolution of language and palaeoanthropology)

Music and Brain

Language, Music and Brain

20090723 Music and the Brain: Music, Criminal Behavior, and Crime Prevention

20090723 Music and the Brain: The Music of Language and the Language of Music (Aniruddh Patel)

20080122 Music and the Mind

20090727 Music and the Brain: From Mode to Emotion in Musical Communication

20090728 Music and the Brain: The Mind of an Artist

20090730 Music and the Brain: Depression and Creativity Symposium

20090813 Music and the Brain: The World in Six Songs: How the Musical Brain Created Human Nature

20091204 Music and the Brain: Wednesday is Indigo Blue: How Synesthesia Speaks to Creativity

20090210 Capturing Sound: How Technology Has Changed Music

Lenneberg (1967) Resources

2008-Cost and complexity: Selection for speech and language - Locke Lenneberg, E.H., 1967. Biological Foundations of Language. Wiley, New York.

2006-Language and Morality: Evolution, Altruism and Linguistic Moral Mechanisms - Poulshock Lenneberg, E. (1967). Biological foundations of language. New York: John Wiley.

2005-The evolution of the language faculty: Clarifications and implications - Fitch,Hauser,Chomsky Lenneberg, E. H. (1967). Biological Foundations of Language. New York, NY: Wiley.

2005-Regularizing Unpredictable Variation: The Roles of Adult and Child Learners in Language Formation and Change - Hudson-Kam,Newport Lenneberg, E. (1967). Biological foundations of language. New York: Wiley.

2005-Language Change in Modified Language Dynamics Equation by Memoryless Learners - Nakamura,Hashimoto,Tojo E. H. Lenneberg. Biological Foundations of Language. John Wiley & Sons, Inc., New York, 1967.

2005-Language Acquisition and Brain Development - Sakai 10. E. H. Lenneberg, Biological Foundations of Language (Wiley, New York, 1967).

2005-How Phonological Structures Can Be Culturally Selected for Learnability - Oudeyer Lenneberg, E. (1967). Biological foundations of language. New York: Wiley.

2004-Early language acquisition: cracking the speech code - Kuhl 134. Lenneberg, E. H. Biological Foundations of Language (Wiley, New York, 1967).

2004-Children Creating Core Properties of Language: Evidence from an Emerging Sign Language in Nicaragua - Senghas,Kita,Ozyurek 21. E. Lenneberg, Biological Foundations of Language ( Wiley, New York, 1967).

2002-The Faculty of Language: What Is It, Who Has It, and How Did It Evolve? - Hauser,Chomsky,Fitch 6. E. H. Lenneberg, Biological Foundations of Language (Wiley, New York, 1967).

2002-Simulated Evolution of Language: a Review of the Field - Perfors LENNEBERG, E. (1967) Biological foundations of language. New York: Wiley.

2002-On the nature and evolution of the neural bases of human language - Lieberman Lenneberg EH. 1967. Biological foundations of language. New York: Wiley.

2002-Natural Language from Artificial Life - Kirby Lenneberg, E. (1967). Biological Foundations of Language. Wiley.

2001-Origins and Learnability of Syllable Systems: a Cultural Evolutionary Model - Oudeyer 13. Lenneberg, E. Biological foundations of language, New-york: Wiley (1967).

2001-Natural selection of the critical period for language acquisition - Komarova,Nowak Lenneberg, E. H. 1967 Biological foundations of language. NewYork: Wiley.

2000-Simulated Evolution of Communication: The Emergence of Meaning - Perfors Lenneberg, E. (1967) Biological foundations of language. New York: Wiley

1999-Syntax as an emergent characteristic of the evolution of semantic complexity - Schoenemann Lenneberg, E. H. (1967), Biological Foundations of Language, New York: John Wiley & Sons, Inc.

1997-The evolution of incremental learning: language, development and critical periods - Kirby,Hurford LENNEBERG, ERIC H. 1967. Biological Foundations of Language. New York: Wiley.

Internet Biosemiotics Resources台大演講網「展望」系列演講

人是萬物之靈？- 看我們和動物有多相近！杜銘章教授 (國立師範大學生命科學系)

人之異於禽獸幾希？ - 從基因組看人的演化周成功教授

大開眼界 - 動物的視覺與行為國立清華大學焦傳金教授

生物訊號溝通的管道 - 人為干擾的負面效應嚴宏洋研究員 (中研院細胞與個體生物學研究所)

大腦如何控制動物行為？- 基因與神經網路的可塑性江安世所長 (國立清華大學生物科技研究所)

由基因看演化 - 從果蠅的複眼談發育的演化歷程孫以瀚研究員

誰才是贏家？- 病毒與宿主間的戰爭與妥協羅竹芳教授

令人「又怕又愛」的新科技 - 從動物之生殖技術、基因轉殖、與複製科技談起鄭登貴教授 (國立臺灣大學動物科學技術學系)

追瘤計畫 - 偵搜與追殺流竄轉移之癌細胞的新科技白果能博士 (中研院生物醫學科學研究所)

追夢計畫-談資訊工程在睡眠醫學的應用陽明大學腦科研究所郭博昭教授