Intrinsic Motive Pulse, Relational Perception, and Object-Mediated Synchrony. 1. Abstract This document proposes a unified framework for Distributed Non-Verbal Synchrony (DNS) : a mode of cognition in which intention, affect, timing, and expectation become aligned across individuals through phase-locking of embodied rhythmic processes. DNS is grounded in developmental psychology via Trevarthen’s Intrinsic Motive Pulse (IMP)  and supported by evidence from elite musical perf

Putting it on the record diminishes the effectiveness slightly, but it's a no-brainer. All organising should be done by handwritten notes, with devices in another room. Almost all notes should be burned after the meeting, unless it's for the activists. Sweep for hidden cameras. They're almost pinhole-sized now. With written notes, that's barely an issue. Ensure that it's done in a huddle. Came up with this re: Minto and PSNA, but it wasn't necessary.

If I'm right and they plopped a couple of cheap demos on YouTube, I'd say this: The drums are ok, but the guitars aren't even close to real. In video games, they've been using virtual instruments and such for a long time. If I remember correctly, the Rock Band series involved demos by the developers, and then they built virtual fretboards so that they could program the game sequences. The idea was that it had to feel like a real guitar, so they'd check the phrases. Mergin

That was a photo she posted on Facebook after I sang Lonely Town. She obviously wanted me to paint over it with AI. We've known each other since 2018. We're the same age, so we even ran into each other at the Big Sing in 2009. She knew I was taking images from social media and painting over them. As I say, we're friends. The Greens didn't like her informal social media presence, so they've gradually whittled it down to Instagram. She was very active on Twitter, though I'v

No. You have to respect me as a writer. Asking me to act is about taking away the agency I have as an indie artist. Instead of being able to say whatever I like, I'd have to recite your lines. I'd have to sing your boring bullshit. Please accept that the preludes are available, but I'm not. You have to a) find another virtuoso and b) pay us fairly. One person gets a performance fee of $20,000 or more. One person gets a licencing fee of $35,000 or more. I realise it's expe

In my world, most people seem to reckon that they can tell their kids what to watch. Some of my stuff is for kids, some is for grownups. They prefer to make that call. Meta didn't even send me an email about it. It was perfectly legal. The lyrics are explicit, but matter-of-fact. Yes, it was about me, but it wasn't like I was having sex with Barbara. They were just songs. I intended the cycle to depict a long-distance relationship. We sang, but nothing happened. She likes

Contrapuntal Elaboration over Static Harmony. One of Michael Bell's acronyms. That's what happens in Moments Flow or in Theme For The Prime Omelette. It's also a feature of Carpenter/Bettis songs.

Intro: F7-F7sus4 F7 It's not a big surprise Bb9 So don't feign dismay F7 They're the same old cries Db7 Ab7 While the children play C7 They're the same old boots B7 Acting in cahoots Bb9 Stomping on our throats F#7 F7 While the Eggman gloats Dmaj7 Amaj7 Charity isn't easy to find F#7 As you wind up in the middle B7 of another dirty riddle Dmaj7 Amaj7 Clarity isn't easy just for the

If you're unable to provide words of apology, I'm unable to lift the boycott. It's that simple. All you're doing is shooting yourselves in the foot and being bigoted. You are demonstrating the rapacious tokenism that fuels my satire. If you want me to come to gigs, you must stop asking me to sing or play guitar. You can't legally force me. Dr. Fisher must accept failure to convert me. She must learn her own melodic style. - Sorry. No wiggle room: sexual extortion took pl

It's not that I couldn't come, it's just that I can't right now. Too broke. The trip to the Pacific will probably be in 2028.

I've never discussed Weeded Out with any producers, or at least not face to face. I've never met anyone who claims to have the rights. I was at a jobseeking course in 2022. That's where I wrote the early preludes, and three of the four Weeded Out episodes. It was a Treehouse course, and MSD can probably verify that I took the course. This means that VUW has no legal right to my IP. There's no deal. It's just them harassing me. That's why they're one of the groups that I re

Right now, the tracks are making minimal amounts on Spotify or YouTube or Apple Music. A lot of people are into the whole Beatles universe, so having all of those things available in one place is probably worth a few million subscribers. I gather that the Anthology was something of a loss leader, so it's these future films which are seen as a way to continue exploiting the songs yourselves, as well as drive the company into the 2030's and beyond. Disney might be angry, but

IP mining or trolling has a long history. The example I like the most is the Tin Pan Alley one. A songwriter receives a letter from someone asking to look at a song. Even if the letter was unopened, the person would sue them months later, saying that a new song infringed on their material. They won often enough to make people cautious. That's why Sondheim said he hadn't read my scores. Turns out he had, but was being cautious, as my birth name is similar to an NY Post crit

It's that simple: that is one of the factors that made me suicidal. VUW has to accept my decision to refuse. It is a fair decision, it is a valid and legal decision. Mr. Luxon has to accept that I am legally allowed to satirise him. - Mr. Barr has to accept that his script is unproduceable. Mr. Cain needs to apologise and write me a cheque. - I deserve full autonomy. I was not deemed a threat. I expect to be treated accordingly. No more study bullshit. Stop asking. Simply re

Yes, it's a top-notch score, but the subtext is extremely plain. I hated the way that classical musicians treated me when I came out. This opera exists to ensure that never happens again. The crossdressing content will force male singers to understand a wee bit of my saga. The female singers will have to put up with me not being a guy or girl. Why? Because I wrote the music, and it's wiping the floor with the chosen ones. All the actual opera composers in New Zealand aren'

Emaj7/G# Drones that flutter high above us Dmaj7/F# Phones that mutter that they love us Bmin7/E Tasers that they use to shove us Eb69 Bb7b9 All because of who we let in Emaj7/G# Counting up his mounting millions Dmaj7/F# As he murders our civilians Bmin7/E And his buddies rake in trillions Eb69 Bb7b9 So, let's help someone new to get in. Cadd2 Let's fry up the Eggman! Bb9 Let's scramble his egg pan! Dmaj7 Let's br

The ending is pure garbage, the filming is average, and the acting isn't great. To me, that ending was a really token use of Māori mythology. She doesn't do right, so she explains it away with some cosmic nonsense. I might add that it's not original, unlike Housebound. It's a play adaptation, and feels it.

D Sticking to a lamp post Asus4 A Inches from the drain D I am just a story A7 D People don't explain D Could be selling undies Asus4 A Could be selling Spain D E7/A I can't see my body D6 So I can't explain. C#-7 B-7 I'm just another ad C#-7 B-7 Don't know if I'm good or bad Eb-7 Db-7 I'm just another ad Db-7 Cb-7 Feeling sorta s

Look, if you've never managed to get a case to happen with the police, even though the cops weren't happy with my involvement in the Wellington Daktory, then that's because being trans isn't a crime and neither is being vocal. Being uncomfortable is part of tolerance. You don't have to accept me, but you do have to tolerate that my rights are equal to yours. If you work in a service industry, then you need to tolerate people who use the service. Attempting to exclude them f