Re: [tuning] Digest Number 2342

Micah wrote:
i see the viewpoint that these things are completely relational as a sort of modern
disease that is mostly indicative of a lack of sensitivity
Apparently we seem diametrically opposed, but I don't think so.

First, I have to temper what I said about sensation for your enrichied notion of sensation was not aimed
by the criticism I serve generally at those who believe that perceptions are built with parametrizable
elements they call sensation. Since one can observe tonotopies in corti organ and cortical regions they
think, for instance, that the pitch height sensations, as psychic correlates of measurable frequencies,
are the kind of mental atoms with which the musical or linguistic perceptions are built. It's that type
of sensation I labeled regressive perception and I mentioned about that it's yet relational.

I don't believe you would see as a mental atom the pitch height sensation of the A440.

When you wrote "the red sensation is playing a specific role in the larger sensation of the moment",
apparently you could fall under my criticism, but it seems you denote by sensation, even with the
red one, the type of qualities I called globally fused, very far from parametrizable ones. It's there an
artistic notion compare with the other supposed scientific one.

So, the word sea used in poetry is very far from the scientific one and it's essentially its rich evocative
contents that serves rather than the common designation.

I hope you understand that against those reducing perception to elementary sensation I oppose hardly
and promote a relational viewpoint, but at same time I try to respect the artistic field where synergetic,
synesthesic and fusional process occur towards high level of sensitivity.

A last word about space. We use with the same name two distinct concepts. Mine is not opposed to
yours since not belonging to artistic field, but yes, in that restrictive sense, its completely relational.

I pretend that the operatory structure on interval spaces has a primordial importance in that kind of
music (almost all) using intervals. The high stability of the time substrat gives exceptional operatory
properties to time and frequency intervals while properties implying the energy factor may keep only
a topological invariance, so improper to the same operativity. That is not without consequence in long
term on cognitive aspects, musical sense investment and expressive strategies.

Using an analogy, the economy of woyels of the linguist Martinet and the color of woyels of the poet
Rimbaud belong to distinct universes.

Pierre