(this seemingly linear view actually moves in both directions, in the other drawings the center of those drawings represents the noise to silence vacuum at the margins of this one, similarly, the center of this represents the periphery of those, this is because these are two dimensional models of a three dimensional model of sound acting in a field sense moving between vibratory modes of equivalence between greater and lesser apparent complexity, dig?)
and this below is just a transcipt of what you cant read in the above photo:
combinatorial/transitional region combinatorial/transitional regionand this below is just a transcipt of what you cant read in the above photo:
stasis/symmetry feeling of movement/asymmetry asymmetry stasis/symmetry
large scale structures perceptible....surface perceptible only....large scale structures perceptible
large scale structures perceptible....surface perceptible only....large scale structures perceptible
aperiodic periodic aperiodic periodic aperiodic
silence noise continuum pulse rhythmic increased complexity harmonic noise silence
yet it is the perceptual results of each stage that are interesting, in terms of what it is possible to pay attention to, for instance at either end of the scale, one's internal personal frame of reference provides the movement while towards the middle the imposition of the the musical structure increasingly provides the listener with a frame of temporal reference that must be adopted, coming first from one side in terms of silences added to a continuum to build rhythmic complexity as aperiodic relationships reestablish themselves, and on the other side in terms of increasingly distant harmonic relationships tending to a similar aperiodicity, that again reaches critical points in complexity and returns to pattern formation or silence.
yet it is the perceptual results of each stage that are interesting, in terms of what it is possible to pay attention to, for instance at either end of the scale, one's internal personal frame of reference provides the movement while towards the middle the imposition of the the musical structure increasingly provides the listener with a frame of temporal reference that must be adopted, coming first from one side in terms of silences added to a continuum to build rhythmic complexity as aperiodic relationships reestablish themselves, and on the other side in terms of increasingly distant harmonic relationships tending to a similar aperiodicity, that again reaches critical points in complexity and returns to pattern formation or silence.
So I hope this illustrates the idea somewhat. The sci-fi picture was irresistible (the more legible one ). Totally silly but since my drawing are very difficult to actually read it might help, if anyone is reading this anyway, to combine the two. Basically these drawings are cross sections of a three dimensional model for a way of seeing sound as expressed in music. The three dimensional form, not in cross section would look sort of like an attempt to render a Twistor (Robert Penrose) in a 2d drawing. Like a doughnut hole that feeds back on itself. An infinite surface that consists of a black hole at the top but then at the bottom it wraps back around mobius strip style and feeds back into itself through its own top, ass end style. Make sense? well I will try and put a drawing of that up or something but I haven't got a drawing program and I am probably going to get kicked out of this place soon enough anyway. Just wait, it might appear. Ah yeah and also its got two or three fat rings again made of the same substance, that form around the tube made of the hole as it elongates downward.
So its like an upside down atom bomb picture with those rings around the blast funnel, but instead of a big thunderhead of broccoli at the top it bends back around in all dimensions and feed back inside of itself. get it? A self-farm. And this is a cut made through it, and really none of this exists at all, its a model of how sound gets complex and simple and how its really all related you know, in music, man. You know what I am talking about??
Also, I tried to and create a typed analog of the "linear" chart under the drawing of itself. Please try and keep in mind that the whole thing is actually a cross section of a three dimensional form (that is itself only a model, I am not trying to show the structure of any physical phenomenon obviously). Thus these things are like skins. Okay and they are skins of movement that sound trajectory takes in terms of increasing complexity. Showing that after maximum complexity its all back where it started. dig?
and sorry I cant write right tonight ight
what I mean to say is partially:
silence is symmetrical the way that zero is
noise is extreme asymmetry on one scale, and equilibrium on another
at points of phase change, symmetry brakes and pattern formation begins
the perceptual mechanisms of people adjust to each of these differently as do composers
g'night.