Using a combination of animal data, human data and mathematical modelling, this study tests the hypothesis that the HB, by way of pulsatile baroreflex activation, controls the initiation of inspiration that occurs through a rapid neural activation loop from the carotid baroreceptors to Bötzinger complex expiratory neurons.Ĭardio-ventilatory coupling refers to a heartbeat (HB) occurring at a preferred latency prior to the next breath. However, the central neural substrate mediating this coupling remains undefined.
According to the cardiac-trigger hypothesis, the pulse pressure initiates an inspiration via baroreceptor activation. The destined destination is simply a byproduct of aim-befuddled movement.Cardio-ventilatory coupling refers to the onset of inspiration occurring at a preferential latency following the last heartbeat (HB) in expiration. There is no unbeing of the ‘will have been’ aligned with a destined course. Rather, like a listless predator who has lost the thrill of pursuit, it observes without interest, without appetite even, this objective reality that has prevailed only in meeting the standards of its bitter contempt, for all braided within its fabric languishes in mere folly, and all therefore remains too intertwined with the scraps and muck and detritus and moreover with the flaws in this tapestry of being to intuit its desultory artifice. The Anti-Rhythm rises from the perforations, from those pits, only to remind itself of the sheer inadequacies and of the abomination of existence, which is not to say that it confronts or beckons to all or any who exist.
All the same, there are layers of absence between waves of static, perforations in the surface of the latent aural wall that descend to pits of ecstatic dread, eschewing the crystallized intelligence and industry of all manifestation with its own form of anti-intelligent, retro-manifestation–not the undoing upon ‘the done’ so much as the unbeing upon the ‘will have been’ (which can be stretched to include both the ‘have been’ as well as the invariable ‘to be’). “The fact is that we lack the terms to define, and there are too many hypothetical notions upon which our assumptions are stacked that it would be silly for us to explore it. She began to ask herself whether these gesticulations might not, perhaps, be a necessary concomitant of the piece of music that was being played, a piece which, it might be, was in a different category from all the music that she had ever heard before and whether to abstain from them was not a sign of her own inability to understand the music, and of discourtesy towards the lady of the house with the result that, in order to express by a compromise both of her contradictory inclinations in turn, at one moment she would merely straighten her shoulder-straps or feel in her golden hair for the little balls of coral or of pink enamel, frosted with tiny diamonds, which formed its simple but effective ornament, studying, with a cold interest, her impassioned neighbour, while at another she would beat time for a few bars with her fan, but, so as not to forfeit her independence, she would beat a different time from the pianist's.” But she had a natural horror of what she called 'exaggerating,' and always made a point of letting people see that she 'simply must not' indulge in any display of emotion that was not in keeping with the tone of the circle in which she moved, although such displays never failed to make an impression upon her, by virtue of that spirit of imitation, akin to timidity, which is developed in the most self-confident persons, by contact with an unfamiliar environment, even though it be inferior to their own. de Saint-Euverte's house, the Princesse des Laumes would not have wished (so that the act of politeness to her hostess which she had performed by coming might, so to speak, 'count double') to shew herself as friendly and obliging as possible. This was not to say that, for once that she had consented to spend a few minutes in Mme.
“She observed the dumb-show by which her neighbour was expressing her passion for music, but she refrained from copying it. With my gypsy ancestress and my weird luckĪ cleft in your chin instead of your foot The snows of the Tyrol, the clear beer of Vienna
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