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| Looking for the motion? Why? Because it's like a magician's trick, our conception of the "frames of time". NOTHINGNESS isn't that the point? On a roll of motion picture film there is nothing between the frames. There has to be this nothingness inbetween the frames so that there can be a 'transition' between the events that lead the senses to perceive what is not there (this motion). | ||||
| The frames of consciousness when reduced to a certain degree disappear. The components are all that remain and they seem to not have the relation that would cause the complex phenomenon to arise. They must be combined in a rhythmic fasion, like with a musical instrument, so that the music of the self will emerge from the buzzes and vibrations of rattling strings. | ||||
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THE MUSIC OF THE SELF Many neroscientists and philosophers have for some time compare the emergence of the self from the rabble of the nerve cells to an orchestra. A stage filled with all sorts of instruments trying to hamonize and get in time with each other is the perfect metaphor. The music moves through measures and plays in scales. |
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LEVELS OF IMPLEMENTATION Once again grammer. There are all these levels, words, phrases, sentences, paragraphs, chapters, entire works, libraries, etc.... each have a different set of rules for the smooth functioning of the entire mess. Try and think in this manner about musical complexities. |
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| Then there is the matter of timing. Half notes, quarter notes, etc... at one level could be considered as frames which transit from one to the other. These notes are warnings to the musician of when to play something, when to not play something and to play certain lengths of something, (vibrating noises). Inbetween the notes there is silence, nothingness, void, the part that allows us to hear clearly the noises when they are made. | ||||
| Like a book with hundreds of thousands of letters that portray sometimes the entire world, something truely magical takes place when all of these musical elements are combined in the appropriate manner. When reduced to the basic elements, notes and timing, most people are confused with all of the components. But a trained musician does not see confusion but sees what all these notes add up to. They would see all these notes on the paper and could perform a reductionism, but it would be far from the naive reductionism of the novice. | ||||
| This is what seems wrong about the reductionist analysis; When taken apart the components loose many of their obvious relationships to each other. When a segment of music is broken into a small group of elements the similarity and the ability to be timed with each other, appear to disappear. Something is missing in the purely reductionist approach: THE RELATIONSHIP OF THE QUALITIES THAT ARE NOT SO APPARENT but that must emerge when the whole thing is set in motion. SYNTHESIS! | ||||
| Instead of dwelling upon reductionism we should concentrate on the analysis of these relations, as in music, of timing and scales, (similariry). Because it is true that certain qualities seem to disappear when the components are taken apart, slowed, speeded, etc..., does not mean that an attempt at understanding these parts, singly and togeter, is futile. We need a science that takes acount of the relations of qualities and a more precice quantification of elements timing and harmony. | ||||
| Once we have sufficiently understood the combination of these qualities, of timing, transition, harmony, etc... the claims of reductionism will no longer mute the debate. When we comprhend anything, in it's entirety, aren't we making a synthesis of all the components. To deconstruct reality with it's equivalents of letters, words, sentences, etc..., put the peices of the puzzle together, and create a METHOD for organizing all types of component systems, is a goal that reductionism snear's at. | ||||
| Think again of harmony, timing and rhythem. Imagine three chords on a guitar; E, D, and A. Each chord consists of notes that are parts of a scale. These are notes that show a similarity with each other in a way that when sounded they harmonize with each other, they don't make a stale twang when played together but sound as if they belong together. Although each chord is made of notes in a particular scale, each chord has a note name itself, sort of a Meta-Note made of single notes. From this point we loose sight of qualities and invisibility adds magic. | ||||
| When a musician learns a peice of music he or she practices by repitition the configurations and transitions over and over again until he or she can play this peice of music without thinking about it. This is the proper reductionism! The artist finds the magical thing; THE SONG. This method should not be called reductionism but syntoreduc or someting, (taking apart and putting together.) | ||||
| Old school reductionism would lead us to believe that we could not possibly put together a jigsaw puzzle. | ||||
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