PATTERNS IN TIME

  • Musical compositions are patterns in time. Although a written score can be seen as a whole and a CD held in your hand – both are “static in time”, the music must unfurl as temporal texture to be experienced.  If “meaning” is to be gained from the music it comes from hearing it “over time”.
  • The same can be said for poetry and even textual prose.  Patterns that give rise to meanings must occur over time.
  • Even when you scan a painting with your vision, with the “painting fixed in place”, your perceptual experience requires temporal texture. Paralyze an eye and vision vanishes. Consult: Processing Structure / Structuring Process.
  • I speculate that many patterns-of-mind I wish to share can only be shared via temporal texture of reading different passages in some relationship, interspersed with thoughts and Q&A episodes; and re-reading some.  Unless this is done, reading isolated parts with no attempt to relate them would be like hearing an isolated note or two from different parts of a musical composition at different times.  In a way this appears obvious and ordinary – reading coherently is prerequisite for understanding.  I sense that there are some ideas (or memes) that are both new and spread out in time with intervening fractal-like levels of patterns-within-patterns that the whole pattern is often not noticed.
  • Pattern Comprehension may be much more than Pattern Perception. Noting binary relationships between components is only a small, first step towards comprehending pattern
  • I speculate that our more complete comprehension of patterns has been blocked by the biasing power of visual patterns as dominant metaphor. We even tend to ignore how the temporal is essential for even perceiving a “static visual form”.

The two posts that preceded this post, THE CELL, THE CATERPILLAR and the BUTTERFLY and IMAGINE – GEDANKEN EXPERIMENT – PATTERNS OF INTERACTION I believe are of this nature.  And most of my other compositions, as well.

I have often wondered, in relation to music, how it is “remembered” when the notes move along, each being heard “one at a time”. The notes I heard a few seconds ago are no longer being heard – yet I experience melody. There are some with high musical competencies who report “knowing experientially” the whole of a symphony or opera.  How is this different from my reading this sentence and have forgotten the prior sentence?  Just as I can’t experience the whole of a symphony (to me the different movements and even concurrent interweaving themes are not distinguished), so others many never “grasp” the whole of a long document – or system of documents. Parts will be comprehended with no awareness that other parts or patterns were missed.

 

There is a system of ideas that I am attempting to encode in text, in patterns to be experienced when different ideas encounter each other in a reader’s mind – and with what was read before.  These ideas have been emerging within me for a few weeks, gaining and waning, becoming clear and then fogging over.  I also feel this is not something for me to “sing” myself alone, but for a chorus to play with the many themes and let emerge the “song”: LIVING PATTERN.  I am aware that these docs (or sems) need crafting; but I’m not sure how.  I sense that visual maps such as Glisten recommends would serve as a “musical score” for non-linear reading.  Do we need a genre of visuals that are scripts, where the comprehension emerges within performance? I just need to hear or read some words fly back at me from these docs before I proceed.

I know what I get, and don’t get when reading the prior two docs. I note much that is missing and some that is probably quite confusing.  I hope you can feel my personal intensity in this effort and the significance I believe it to possibly have. Should you devote the time to read them I would very greatly appreciate what you gained from them. Harsh criticism would be far better than nothing.

Thank you,  Larry/nuet  1/24/2013 10:09 PM

Author: nuet

01/24/1935. BS-physics RPI 1956; MS-physics UofChicago 1958; PhD-physics Yale 1965; PhD-Edu Psy Uof MInnesota 1970. Auroral Research Byrd Station, Antarctica 11/1960-02/1962. MINNEMAST curriculum dev 1964-68. Woodstock. faculty Pima Community College, Tucson 1974-1997. Transdisciplinary scientist, philosopher, educator, futurist, activist. PC user since 1982. "Wife". daughter, 2 grandsons. 5 dogs & 7 cats. Lacks mental imagery in all sensory domains.

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