The purpose of this study was to examine the effects of listening to pre-exercise music on bench press performance. We recruited 10 resistance trained males (M age= 22.8, SD = 5.8 years; M height= 173.7, SD = 8.3 cm; M body mass = 81.0, SD = 18.2 kg) for this crossover counterbalanced research design. Participants completed two bench press exercise trials of (a) No music (NM), and (b) Pre-exercise music (PreExM) separated by at least 48 hours. For each trial, following a warm-up, participants listened to music or no music for three minutes. After this 3-minute period, they completed one set of bench press repetitions with maximum explosive intent at 75% one repetition maximum (1 RPM). We used a rotary encoder to measure power and velocity of barbell movement. After a 3-minute rest during which they again listened to music or no music, participants completed another set of repetitions to failure (RTF) at 75% of 1RM. Immediately following this second set of repetitions, we measured exercise motivation with a visual analog scale (VAS). We found that the PreExM condition increased mean power output (p = 0.005; d = 0.792) and barbell velocity (p = 0.015; d = 0.722). RTF were significantly higher during the PreExM versus NM trial (p = 0.002; d = 0.985), and motivation was significantly higher in the PreExM trial versus NM (p = 0.001; d = 0.932). These findings suggest improved muscle power explosiveness and strength-endurance when listening to music before a bench press exercise. From a practical standpoint, athletes who have the option of listening to music immediately prior to resistance exercise may benefit from its use.

This paper explores Henri Bergson’s understanding of time in relation to the experience of the sensory deprivation tank. In this exploration, the tank is presented as a time machine: a machine that separates time from space and takes the floater into an experience of what Bergson describes as pure time. At the same time, the tank acts as a kind of phenomenological epoché that, through the disabling of the floater’s sensory‐motor schema, literally suspends the human being outside of the world and forces them to reconsider their previous judgements and understandings of consciousness and time. The tank is tied in with contemporary scientific and philosophical discourses on consciousness, such as those of David Chalmers and what he has described as the hard problem of consciousness. As Chalmers discusses, the hard problem requires a radically new type of thinking beyond contemporary science and its inherent materialistic and mechanistic worldview. The tank is presented as a machine that could play a part in this radical rethinking of consciousness—a literal black box working through the black box problems of consciousness.

No abstract

In this paper I argue that the SoundCloud rap movement of the 2010s signalled not only a crisis of the rap-image (the specific ways in which rap had been traditionally represented and produced), but also a moment of intense aesthetic creativity and experimentation. Following Luciana Parisi’s notion of alien thinking and Kodwo Eshun’s work on Afrofuturism, I see the SoundCloud rap movement as exhibiting a type of alien creativity, existing outside the human but having real effects upon the human aesthetic experience. Through techniques such as Auto-Tune, mumbling, repetition, ad-libs, triplets, rappers were able to create a radically new aesthetic form that pushed the limits of digital music production and listening. I present SoundCloud rap tracks as virtualities of aesthetic origination, with rappers and producers playing with the alien, the unknown, the incomputable and the incomprehensible, which are provided to them via cybernetic technologies. These virtualities become ways of bringing forth the alien in the form of new syntaxes, new meanings, new aesthetics and new modes of being, pushing the bounds of rap and popular music.