v Basic
concepts Cosmological and geometrical data |
v The
network of relations A network within a nested network Structural coherence; four groups of relations in the structure Functional coherence; seven groups of relations between potentialities Relative motion; two groups of relations between functions One-time mutual functionality of unique functions |
v Limitations, questions and other additional remarks |
v
Comparison of ways of ordering table 1 ordering according to parts of the process, with sound and light table 2 ordering according to the chromatic spectrum and the series of halftones |
v Search for important notions in the STRUCTURE line |
^ |
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Basic conceptsA process is an actual event. The structure of
processes is an abstraction, an apparatus for our capacity of discernment. The abstract
structure should contain all elementary potentialities,
she serves as a framework for the potentialities. The potentialities form, in their
location within the process, a network of relations.
The intrinsic own character of a process lies in the unique mutual relations and the
proportions within its network. The concepts which
indicate the different potentialities should be general, in order to allow the structure
to serve as a frame when working with various specific processes such as animals,
mountains, theories, human actions, politics, and such. |
^ Cosmological and geometrical dataA point is a concept of space and time, it contains no parts. A point can form a relation with itself: the line which links a point with itself can
be thought of as a circle (360 degrees). The beginning and the end are connected in that
single point, the contact with the actuality of space, time and movement.
These are the basic proportions, the basic measure for the twelve phases of the process is 30 degrees. Links to |
^ The network of relations |
Every point finds itself in the midst of other points existing in space and time, they
distinguish themselves from others by their relative position. The relative position of a
point in space and time is represented by its co-ordinates, the point represents both singularity (singulus = with unique character, single or
incomparable) and co-ordination (co = together- or
beside-, ordinare = order or arrange, juxtaposed, therefore equal in rank or importance)
with other singularities which together form the environment.
Thus the relation of co-ordinate unity, at this macroscopic level (where processes comprise more than one cycle), is supplied with the three structural relations - with their own place against the background - within the circular form of the process:
Links to A network within a nested networkFrom the relation of co-ordinate unity, the universal
relation, originate: from E to H, four groups of structural relations between parts of the structure of the
process; from I to Q, nine groups of functional relations
between two or more points of orientation, including P and Q, two groups of relations of relative motion between functions. |
^
Structural coherence; four groups of relations within the structure
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Link to the propulsive force in the undulation of alternating contrasts in a process - structure #16/5. Functional coherence; seven groups of proportions between potentialitiesIn order to realize the seven groups of relations at least two points of reference or
functions are needed at a time. A function not only has its own dynamics at its disposal
(see under H), but also the dynamism of the phase and the part of the backgroud in which
it is located. The functions (orientation points) together realize the overall function of
the individual process.
In groups of relations which are closed or nearly closed, for instance a quadrangle (K), triangle (L) or any other combination, frequent repetition is obvious. Such a situation can concentrate, intensify and develop into a vicious circle. Links to |
^ Relative motion; two groups of relations between functionsThe points of reference or functions are recorded on a place in the circle, in reality they moved at that moment with different and for each characteristic speed. Naturally they all move in their own orbit constantly in forward direction, seen from the earth however, most of the points show regularly an apparent retrograde movement.
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^ One-time mutual functionality of unique functionsThe mutual relation of the orientation points is one of mutually relative functions. There are at least twelve orientation points - functions - available which each, from their own point of view, carry out their own developmental purpose and -process with the help of the entire network of their own process. An example: function A is active within the pattern of function B in area 8 but within the pattern of function C in area 3, and both are in their manner functions within the pattern of A. updated! Mutual functionality is a precondition for development in the broadest sense and indispensable to the interweaved or complementary interaction of the confronting dynamic and the critical step by step dialectic possibilities of a process. In combinations of squares (dynamic, challenging) with triangles (dialectic, consideration) lies the capacity of a process to develop. The dynamic quadratic proportion seeks balance or power, among other things by confrontation and difference of opinion. The dialectic triangular relation seeks survey and understanding, also in the perspective of alternatives. Processes dispose of a number of general functions which together form unique
combinations. The dialectic and dynamic types of these relations and their
characteristic functions are described above in the network-relations Structural coherence; four groups of relations in the structure (E - H)
and Functional coherence; seven groups of relations
between potentialities (I - O). The dialectic and dynamic forms of relations are
central, are complementary and "overlap" each other in such a manner that they
advance the development of an essentially own characteristic kernel: the experiences of
dynamic interaction with the environment can be dealt with by inner dialectic
considerations which in turn can influence the dynamic interaction and improve, secure or
demolish the balance or the dignity. Dynamics is a mental or a physical manner of being at
loggerheads with or force something upon the other(s); dialectics demands from human and
animal to take distance of that other party, to be objective and think about the different
standpoints, to learn to handle chaos and confusion and to try (as human via open
discussion) to reach a joint and acceptable solution. Link to |
^ Limitations, questions and other additional remarksVia the single point of contact with the actual environment a process generates
subsequent learning cycles as well as new events which both receive their specific purpose
and character from the actual moving world of space and time. A process thus finds itself,
with its unique properties in all sorts of complications, between its own unknown
preconditions on the way to its own unknown purpose, its function for the environment
which is a cyclic process as well.
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^ Comparison
of two ways of ordering
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table 1 Ordering according to parts and relations
of the process, with sound and light |
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The table contains descriptions and - for comparison - two scales of
wave frequencies which are generally considered as audible or visible for people.
The frequencies of sound waves are in Hz, colours are usually indicated in wave lengths,
nµ = nanometer. In table 2 I added information on colour wave frequency groups in Tera
Hertz. Both are in fact analogous scales, but for discerning tones in music and for
discerning six basic colours exact agreements exist. The standardised colours for printing
ink are magenta, st.yellow and st.cyan, the standards for coloured light, as used on
screens, are pure red, pure green and pure blue. The Hertz (Hz) ordering has been complemented (+) with the natural frequency of the tonica of 432 vibrations per second. I learned that the natural measure was raised to 440 Herz by Joseph Goebbels (minister under the reign of Hitler) some time before world war II. His purpose was to attain more dependency and agressiveness from the citizen and the soldier. This function of Hertz is in 2017 still in common use. |
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table 2 Ordering according to the chromatic spectrum and the series of halftones | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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This table contains the same data, but in a different sequence this
time. In placing the colours according to the solar spectrum a recursive sequence of the
phases appears: 9>1>5, 3>7>11, 6>10>2, 12>4>8. The order of the
sound wave frequencies now shows the Shepard tone series (whole intervals: C D E fis gis
ais, and cis dis F G A B), in recursive triad chords: gis>C>E, D>fis>ais,
F>A>cis, B>dis>G. The sequence of the basic notions up to and including the
aspects of course follows this recursive movement. The four extended triad chords, consisting of a combination of two major third intervals, turn out to be of importance for composers and in general for understanding modulation. Their inversions are always enharmonically equal: c/e/gis is enharmonic c/e/as and enharmonic c/fes/as. That is helpful for modulation where, in this example from C major by raising the g in c/e/g to c/e/gis, it is possible to move toward the key in which such an extended triad chord occurs. Such chords occur in the harmonic minor scales in which the seventh, and in the melodic minor scales in which the sixth ánd the seventh tone are raised in order to satisfy the demand for the leading tone. In the major scale the seventh step, as we feel it, clearly 'demands' the final tone, de tonic (the story goes that Mother Mozart played chords with such a demand in order to draw her children out of their beds to the piano). The extended triad chord c/e/gis from the example 'demands' the a and can be heard as being part of either the harmonic or the melodic minor scale a. Thus the extended triads can be seen as interconnecting elements in music which complement the other modulation techniques and contribute to the harmony we seek. |
Links to examples of processes 'Eating an apple' - structure #3/1, 'Smoke or stop smoking' - structure #3/1, 'Contact with men or with women' - structure #6/2, 'Send this sms with "yes"' - structure #29/9. |