Synchronization of Heteroclinic Circuits Through Learning in Chains of Neural Motifs

The synchronization of oscillatory activity in networks of neural networks is usually implemented through coupling the state variables describing neuronal dynamics. In this study we discuss another but complementary mechanism based on a learning process with memory. A driver network motif, acting as a teacher, exhibits winner-less competition (WLC) dynamics, while a driven motif, a learner, tunes its internal couplings according to the oscillations observed in the teacher. We show that under appropriate training the learner motif can dynamically copy the coupling pattern of the teacher and thus synchronize oscillations with the teacher. Then, we demonstrate that the replication of the WLC dynamics occurs for intermediate memory lengths only. In a unidirectional chain of N motifs coupled through teacher-learner paradigm the time interval required for pattern replication grows linearly with the chain size, hence the learning process does not blow up and at the end we observe phase synchronized oscillations along the chain. We also show that in a learning chain closed into a ring the network motifs come to a consensus, i.e. to a state with the same connectivity pattern corresponding to the mean initial pattern averaged over all network motifs.

The Sound of the Digital Global City

Madrid has been the center of Spanish musical scene and industry since the 80s, when “la movida” becomes the metaphor for the new colorful, young and cosmopolitan country established with the arrival of democracy. The city, in this way, is basically a place. But this sense of place started to crash with the arrival of digital music. In the new paradigm, intermediaries were supposed to disappear and music was something contained in networks and computers. The question now is how to integrate digital music, a nonphysical, individual experience, with the way in which the city of Madrid is lived through in musical terms. With the advent of digital music, concerts became the primary source of income for musicians. The centrality of the gig can be understood as the confirmation that we are living in an economy of experience. This centrality also reorganized the way in which music is produced and consumed: now, records are produced in order to create the opportunity of a musical event (band promote their tour as presentation of their latest recordings) that can be promoted in social networks and media; concerts are the places where musicians construct their fans’ communities and are the places were records are sold, not a way to know the band but to demonstrate both the support for the band and the status of the listeners. To study the place of music in the process of metropolization in Madrid we need to understand music as a field of tension