Adolf Beck: A Forgotten Pioneer in Electroencephalography

Adolf Beck, born in 1863 at Cracow (Poland), joined the Department of Physiology of the Jagiellonian University in 1880 to work directly under the supervision of the prominent physiology professor, Napoleon Cybulski. Following his suggestion, Beck started experimental studies on the electrical brain activity of animals, especially in response to sensory stimulation. Beck placed electrodes directly on the surface of brain to localize brain potentials that were evoked by sensory stimuli. He observed spontaneous fluctuations in the electrical brain activity and noted that these oscillations ceased after sensory stimulation. He published these findings concerning the electrical brain activity, such as spontaneous fluctuations, evoked potentials, and desynchronization of brain waves, in 1890 in the German language Centralblatt für Physiologie. Moreover, an intense polemic arose between physiologists of that era on the question of who should claim being the founder of electroencephalography. Ultimately, Richard Caton from Liverpool showed that he had performed similar experiments in monkeys years earlier. Nevertheless, Beck added new elements to the nature of electrical brain activity. In retrospect, next to Richard Caton, Adolf Beck can be regarded, together with Hans Berger who later introduced the method to humans, as one of the founders of electroencephalography. Soon after his success, Beck got a chair at the Department of Physiology of the University at Lemberg, now Lviv National Medical University.     

Music geography in Russia: non-auratic places and institutionalization “in becoming”

ABSTRACT

This paper focuses on the Tsoi Wall in Moscow, an iconic place on Russia's music map that appeared in Moscow in 1990 in memory of the cult Soviet rock musician Viktor Tsoi, to develop a framework for studying non-auratic music place – that is, places that are not connected with the biographies of musicians or musical events, but emerge directly from the experiences of visitors and fans. These places are constantly negotiated and only lightly formalized, but are nevertheless enduring. To analyze this type of place, we propose a concept of institutionalization “in becoming”. The case of the Tsoi Wall reveals that light formalization (vague and changing positions and rules, and openness to different interpretations of a place and ways of using it) leads to the recognition of the place as a significant one and to its popularity. We put institutionalization “in becoming” in a wider context and juxtapose it with well-studied musical places in Europe and the US.