Mathieu Bouchard a écrit : > On Thu, 15 Nov 2007, Ypatios Grigoriadis wrote: > >> If i may now borrow the theory and terminus Arrow of time by Arthur >> Eddington, according to which time is the fourth dimension in space, > > Afaik, Arthur Eddington made the first English translation of Einstein. > This is probably what got him in that 4th dimension thing, or perhaps it > was the other way around (that he had thought of a 4th dimension concept > and sought in Einstein's work a confirmation of it). I don't really know. > > Anyway: in some way, the past is equally hard to "postdict" as the > future is hard to predict, but it depends on what one looks for. We are > used to think of the past using what remains from it, but almost every > event of the past is virtually unreachable due to having been blurred > beyond repair. For any set of things you observe, everything else is > left unobserved. The attention span of observers is tiny compared to > what could become relevant to the observers later.
I'm very happy to read anything else than space-time gibbering, thanks. >> (One could wonder: Exactly how straight is this axis? Could it bend >> and go back? Of course! In music this is called a "reprise".) > > "reprise", "beat" and such, are just larger scale splittings of the time > dimension in the same way that frequency separates from time. Reprises > and beats and rhythms are full of periodic patterns, just like the sound > waves themselves, but at a different scale, which doesn't make the > physical ear resonate anymore, but appeal to the brain's taste for > sequencing. Thus a beat may have frequencies like 4 Hz and 2 Hz and > 0.333 Hz in it (whatever is roughly in that range), whereas larger-scale > song structures may have frequencies like 0.1 and 0.01 Hz. You could > call rhythm and song structure a third dimension of music. _______________________________________________ PD-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list