In one trial, for example, Aborigines in Central Australia were able to correctly identify the specific emotional qualities of sounds derived from the touch of white urban Americans.

Clynes found in this a confirmation of the existence of biologically fixed, universal, primary dynamic forms that determine expressions of emotion that give rise to much of the experience within human societies.

In 2018, he co-authored a publication with Dr Alicia Heraz in the Journal of Internet Medical Research that demonstrate similar emotional patterns on mobile phones with force sensitivity.

His experience with Pablo Casals confirmed for Clynes the importance of this faithfulness to the natural dynamic form in generating emotionally significant meaning in musical performance.

Drawing on these findings, Clynes also developed an application—a simple touch art form—in which, without music, subjects expressed, through repeated finger pressure, a sequence of emotions timed according to the natural requirements of the sentic forms.

In Australia, at fifteen, in his last year at high school, having newly learned calculus, he invented the inertial guidance method for aircraft using piezoelectric crystals and repeated electronic integration, but Australian authorities denied that it would work.

After graduating from Juilliard (It gave no doctorates then), Clynes retreated to a small log cabin at six thousand feet altitude in the solitude of Wrightwood, California.

It was this work that led, in the late 1960s, to Clynes' scientific sentographic studies of what he termed composers' pulses, as their motor manifestation, in which Pablo Casals and Rudolf Serkin were to be his first subjects.

[14] In 1954, to provide for his parents and to raise funds necessary to underwrite his musical career, Clynes, on the basis of his scientific training, took a job working with a new analog computer, a device about which, at the time, both he and his interviewer were ignorant.

In short order, however, Clynes mastered that computer, and then within a year created a new analytic method of stabilizing dynamical systems, which he published as a paper in the IEEE Transactions.

The CAT quickly came into use in research labs all over the world, marketed by Technical Measurements Corp., advancing the study of the electric activity of the brain (enabling, for example, the clinical detection of deafness in newborns).

In 1965 he began to offer concerts at his newly acquired home on the Hudson, which had a real pipe organ in the living room, and 5 acres (2.0 ha) of land.

After his return to New York City, Clynes performed Beethoven's Fourth Piano Concerto and also gave several concerts at his mansion for invited audiences that included Erich Fromm.

Though considerably more limited in scope than the nature of that inquiry would demand, the data were largely confirmatory of Clynes' theories of universal biologically determined time forms for each emotion.

[18] That same year he accepted a visiting professorship in the music department of the University of California at San Diego, where he completed his book Sentics, the Touch of Emotion, which he had begun in 1972.

It was read in manuscript with great approval and excitement by several authorities: Yehudi Menuhin volunteered a foreword, itself a remarkable document, welcoming Clynes "as a brother."

Hobcroft and the government of New South Wales provided Clynes with a Music Research Center and staff at the Conservatory for his work, supplied be the state of NSW Ministry of Education.

[20] Encouraged by the enthusiastic reception of this work in Stockholm, Clynes, on his return to Sydney, now made the major leap to discern how a composer's unique pulse is manifest in each note.

The leap was in treating the four durations and loudnesses not as separate entities, but as a group, an interconnected organism, a ‘face’ in which each component played a unique role, but all combined together to form a gestalt.

The identification of composers' pulse, and its use in interpreting classical works via computer, was later extended by Clynes, according to his knowledge and experience with dynamic forms, to comprise several levels of time structure.

Shortly after this, in 1983–84 Clynes, with the programming help of N. Nettheim, found a method of allowing computers to design vibrato suitable for each note, depending on the musical structure, also sometimes anticipating next events.

When Clynes' longtime close friend and supporter Hephzibah Menuhin had launched his book Sentics in 1978 in Australia, small symptoms of her developing throat cancer had made their first appearance.

Intensive practice resulted in his losing an exquisite living place in Vaucluse and his subsequent relocation to an apartment in Point Piper, an adjacent suburb in Sydney.

The test was highly positive: the Aborigines did in fact successfully identify the emotions expressed by the touch, of white urban subjects, from which were produced (through a simple transformation, preserving the dynamic shape) the sounds they heard.

Reaching retirement age in Sydney, Clynes left to be professorial associate in the psychology department at Melbourne University and became Sugden Fellow at Queen's College, which he had attended as an undergraduate.

As a result, Clynes received a development contract that would for the first time enable the expressive implementation of real instrumental sounds other than the piano, using a workstation made available to him by HP, a $40,000 computer, which was, at 150 MHz, barely fast enough to do this.

Nine months later, a critical demonstration took place to show that the principles Clynes had discovered would work well with real instruments, not just with oscillators, to enable music played with meaningful phrasing and expression.

[13] Clynes further expanded SuperConductor's capacity for real life expressive interpretation of music with a fourth principle he called "Self-tuning Expressive Intonation," which unfixes the equal temperament tuning and permits the sharpening of the leading tone and other modifications of the sort executed by fine players of stringed instruments and other instruments whose intonation is actively controlled in the playing; now even a piano could exhibit this technique—by means of a laptop computer and synthesizer.

This now made it possible for all computers and synthesizers to benefit from expressive intonation, a non-static, dynamic tuning, in which the same note has a slightly different pitch depending on the melodic structure (the demise of equal temperament).

After a four-year absence in Thailand, Steve Sweet returned to Sonoma and resumed his development work with Clynes, incorporating the new functionality into SuperConductor II.