~e; em signaling

From bc <human@electronetwork.org>
Date Tue, 16 Apr 2002 17:42:06 -0500

[electromagnetism, signals, signals, signals... to interpret...]

Four Measures of Music from the Dolorosa's RGB Signal 
S A N T O   T O   S I G N A L 
Three Phase Space Portraits of the Nuestra Seņora delos Dolores

"The Signal from Another Star

Our lives today are permeated by signals - digital and electronic impulses of
information travelling from transmitter to receiver, often with noise, filter or
interference along the way. SMS and voice mobile communications involve signal
transfer, and so do the luminous moving images on the television screen, the
static and voices on radio broadcasts, the downloads and real-time chat and
videoconferencing over the Internet. Numerous signals are more discrete, though
representing powerful dynamics in the environment - temperature readings and
cloud formation images from a weather satellite, weekly closing prices of stock
indexes, the periodic heartbeat before a cardiac arrest, and the seismogram of a
gentle earthquake beneath a quiet volcano. If there exists anything that can be
communicated - an image, a sound, a vibration, a light - it can be turned into a
signal. And once something becomes a signal, it can be subject to manipulation.
In fact, it is rare to see a signal in its pure form or it may not be recognized
- for a signal to be meaningful or entertaining, it passes through a filter, it
must be manipulated and translated into a language and a form that one can
understand. This has many implications, social, political, economic; this study,
however, is more concerned with how the signal is used for aesthetic purposes. 

Signals used in Santo to Signal are not only vectors (numbers) representing the
RGB color model for light, the closest to human perception, used by computers to
display an image. The signals also take on the numerical representation of music
derived from the RGB signals. It is worth noting, however, that it is not
coincidental or arbitrary that the signal should take on the form of music (as
well as vectors) in order to be analyzed through recurrence plots, since the
same discrete structures in quantum-mechanical concepts that lead to a
mathematical theory of musical scales[1] are also found in visual form
perception.[2] Also, certain cultures, ancient or contemporary, see no need to
distinguish between art, science, and religion when considering an act, a
thought or an object, just as digital technology collapses the spatial, temporal
or conceptual boundaries between word / image / sound / movement,[3] it is in
modern mathematics and its extended applications that this simultaneity of
dimensions, perception, matter and time may be expressed."

for full essay w/images see:

// referenced:

Zone scales as a universal language of design

Pavel B. Ivanov
Troitsk Institute for Innovation and Fusion Research (TRINITI)
Troitsk, Moscow region, 142092, Russia
E-mail: pjones@istc.ru 

Written: 18 December 1995
Revised: 11 March 1997 

A hierarchical approach to the description of structure formation processes in
arts is presented, which describes the development of various zone structures in
music, literature and the visual arts in a uniform way. A new look at the
phonemic organization of language is suggested, and the role of vowel
successions in speech is related to that of melody in music. This analogy is
specifically applied to poetical intonation. Experimental tests of the theory
are proposed, and the possible practical applications are discussed. 


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