User:Xenji/Redundancy: Difference between revisions
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Wikispaces>Andrew_Heathwaite **Imported revision 102234005 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 102278135 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2009-11-12 | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2009-11-12 16:47:16 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>102278135</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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//Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can// guess//, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains// information //or has// meaning //about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."// | //Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can// guess//, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains// information //or has// meaning //about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."// | ||
I ([[user:Andrew_Heathwaite]]) assert: systems (including "works of art", "compositions", etc) contain layers of differing redundancy, & an instance of "no redundancy" or "little redundancy" has significance (for an observer) in contrast to instances of "redundancy." | I ([[user:Andrew_Heathwaite|1258062436]]) assert: systems (including "works of art", "compositions", etc) contain layers of differing redundancy, & an instance of "no redundancy" or "little redundancy" has significance (for an observer) in contrast to instances of "redundancy." | ||
If I look a tuning as a system, I might consider the tuning's "redundancy." | If I look a tuning as a system, I might consider the tuning's "redundancy." | ||
How does this tuning system exhibit //pattern//? | How does this tuning system exhibit //pattern//? | ||
I care about how a tuning system offers redundancy so that I may //choose// a different network of redundancies than th one(s) I'm familiar with (a fish attempting to "see" the water she lives in). | |||
Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it! | Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it! | ||
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* sustained pitch | * sustained pitch | ||
** redundancy in time | ** redundancy in time | ||
* a [[ScaleIndex|scale]] | * a [[ScaleIndex|scale]] | ||
** redundancy in time: "I've heard these pitches before" | ** redundancy in time: "I've heard these pitches before" | ||
** less redundant: a scale which changes (for instance, ascending different from descending) | ** less redundant: a scale which changes (for instance, ascending different from descending) | ||
| Line 57: | Line 55: | ||
<em>Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain &quot;redundancy&quot; or &quot;pattern&quot; if the aggregate can be divided in any way by a &quot;slash mark,&quot; such that an observer perceiving only what is on one side of the slash mark can</em> guess<em>, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains</em> information <em>or has</em> meaning <em>about what is on the other side. Or, in engineer's language, the aggregate contains &quot;redundancy.&quot;</em><br /> | <em>Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain &quot;redundancy&quot; or &quot;pattern&quot; if the aggregate can be divided in any way by a &quot;slash mark,&quot; such that an observer perceiving only what is on one side of the slash mark can</em> guess<em>, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains</em> information <em>or has</em> meaning <em>about what is on the other side. Or, in engineer's language, the aggregate contains &quot;redundancy.&quot;</em><br /> | ||
<br /> | <br /> | ||
I (<!-- ws:start:WikiTextUserlinkRule:00:[[user:Andrew_Heathwaite]] --><span class="membersnap">- <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;"><img src="http://www.wikispaces.com/user/pic/Andrew_Heathwaite-lg.jpg" width="16" height="16" alt="Andrew_Heathwaite" class="userPicture" /></a> <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;">Andrew_Heathwaite</a></span><!-- ws:end:WikiTextUserlinkRule:00 -->) assert: systems (including &quot;works of art&quot;, &quot;compositions&quot;, etc) contain layers of differing redundancy, &amp; an instance of &quot;no redundancy&quot; or &quot;little redundancy&quot; has significance (for an observer) in contrast to instances of &quot;redundancy.&quot;<br /> | I (<!-- ws:start:WikiTextUserlinkRule:00:[[user:Andrew_Heathwaite|1258062436]] --><span class="membersnap">- <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;"><img src="http://www.wikispaces.com/user/pic/Andrew_Heathwaite-lg.jpg" width="16" height="16" alt="Andrew_Heathwaite" class="userPicture" /></a> <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;">Andrew_Heathwaite</a> <small>Nov 12, 2009</small></span><!-- ws:end:WikiTextUserlinkRule:00 -->) assert: systems (including &quot;works of art&quot;, &quot;compositions&quot;, etc) contain layers of differing redundancy, &amp; an instance of &quot;no redundancy&quot; or &quot;little redundancy&quot; has significance (for an observer) in contrast to instances of &quot;redundancy.&quot;<br /> | ||
<br /> | <br /> | ||
If I look a tuning as a system, I might consider the tuning's &quot;redundancy.&quot;<br /> | If I look a tuning as a system, I might consider the tuning's &quot;redundancy.&quot;<br /> | ||
How does this tuning system exhibit <em>pattern</em>?<br /> | How does this tuning system exhibit <em>pattern</em>?<br /> | ||
I care about how a tuning system offers redundancy so that I may <em>choose</em> a different network of redundancies than th one(s) I'm familiar with (a fish attempting to &quot;see&quot; the water she lives in).<br /> | |||
< | <br /> | ||
Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it!<br /> | Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it!<br /> | ||
<ul><li>definite pitches<ul><li>instead of, or in addition to noise</li></ul></li><li>sustained pitch<ul><li>redundancy in time</li></ul></li><li>a <a class="wiki_link" href="/ScaleIndex">scale</a><ul><li>redundancy in time: &quot;I've heard these pitches before&quot;</li><li>less redundant: a scale which changes (for instance, ascending different from descending)</li></ul></li><li><a class="wiki_link" href="/consonance">consonance</a><ul><li>more than one pitch sounding together &amp; their distinctness blurring</li></ul></li><li><a class="wiki_link" href="/octave%20equivalence">octave equivalence</a><ul><li>B-flat considered equivalent to B-flat...</li></ul></li><li><a class="wiki_link" href="/octave-repeating">octave-repeating</a><ul><li>the &quot;same&quot; pitches are available in each octave</li></ul></li><li><a class="wiki_link" href="/equal">equal</a> divisions of some interval<ul><li>also: <a class="wiki_link" href="/quasi-equal">quasi-equal</a> divisions: less redundant</li></ul></li><li>tuning lattices</li><li><a class="wiki_link" href="/harmonic%20limit">harmonic limit</a></li><li><a class="wiki_link" href="/MOSScales">moment of symmetry</a> technique (making a chain of one interval)<ul><li>produces scales with two step sizes &amp; a finite set of intervals</li><li>less redundant variations: <a class="wiki_link" href="/MOS%20Cradle">MOS Cradle</a> or <a class="wiki_link" href="/Second%20Order%20MOS">Second Order MOS</a></li></ul></li><li>matching tuning to timbre<ul><li>eg. rational intonation, selects pitches which are copied in the <a class="wiki_link" href="/OverToneSeries">overtone series</a> of other intervals</li><li>eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments</li></ul></li><li>matching timbre to tuning<ul><li>the reverse of the above: making a timbre (usually with a computer) to &quot;match&quot; a stipulated tuning</li></ul></li></ul></body></html></pre></div> | <ul><li>definite pitches<ul><li>instead of, or in addition to noise</li></ul></li><li>sustained pitch<ul><li>redundancy in time</li></ul></li><li>a <a class="wiki_link" href="/ScaleIndex">scale</a><ul><li>redundancy in time: &quot;I've heard these pitches before&quot;</li><li>less redundant: a scale which changes (for instance, ascending different from descending)</li></ul></li><li><a class="wiki_link" href="/consonance">consonance</a><ul><li>more than one pitch sounding together &amp; their distinctness blurring</li></ul></li><li><a class="wiki_link" href="/octave%20equivalence">octave equivalence</a><ul><li>B-flat considered equivalent to B-flat...</li></ul></li><li><a class="wiki_link" href="/octave-repeating">octave-repeating</a><ul><li>the &quot;same&quot; pitches are available in each octave</li></ul></li><li><a class="wiki_link" href="/equal">equal</a> divisions of some interval<ul><li>also: <a class="wiki_link" href="/quasi-equal">quasi-equal</a> divisions: less redundant</li></ul></li><li>tuning lattices</li><li><a class="wiki_link" href="/harmonic%20limit">harmonic limit</a></li><li><a class="wiki_link" href="/MOSScales">moment of symmetry</a> technique (making a chain of one interval)<ul><li>produces scales with two step sizes &amp; a finite set of intervals</li><li>less redundant variations: <a class="wiki_link" href="/MOS%20Cradle">MOS Cradle</a> or <a class="wiki_link" href="/Second%20Order%20MOS">Second Order MOS</a></li></ul></li><li>matching tuning to timbre<ul><li>eg. rational intonation, selects pitches which are copied in the <a class="wiki_link" href="/OverToneSeries">overtone series</a> of other intervals</li><li>eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments</li></ul></li><li>matching timbre to tuning<ul><li>the reverse of the above: making a timbre (usually with a computer) to &quot;match&quot; a stipulated tuning</li></ul></li></ul></body></html></pre></div> | ||
Revision as of 16:47, 12 November 2009
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author Andrew_Heathwaite and made on 2009-11-12 16:47:16 UTC.
- The original revision id was 102278135.
- The revision comment was:
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
=Redundancy in a Tuning System= Redundancy is one look which makes a tuning system a tuning __system__. Gregory Bateson has this to say about redundancy in his article "Style, Grace, and Information in Primitive Art": //Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can// guess//, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains// information //or has// meaning //about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."// I ([[user:Andrew_Heathwaite|1258062436]]) assert: systems (including "works of art", "compositions", etc) contain layers of differing redundancy, & an instance of "no redundancy" or "little redundancy" has significance (for an observer) in contrast to instances of "redundancy." If I look a tuning as a system, I might consider the tuning's "redundancy." How does this tuning system exhibit //pattern//? I care about how a tuning system offers redundancy so that I may //choose// a different network of redundancies than th one(s) I'm familiar with (a fish attempting to "see" the water she lives in). Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it! * definite pitches ** instead of, or in addition to noise * sustained pitch ** redundancy in time * a [[ScaleIndex|scale]] ** redundancy in time: "I've heard these pitches before" ** less redundant: a scale which changes (for instance, ascending different from descending) * [[consonance]] ** more than one pitch sounding together & their distinctness blurring * [[octave equivalence]] ** B-flat considered equivalent to B-flat... * [[octave-repeating]] ** the "same" pitches are available in each octave * [[equal]] divisions of some interval ** also: [[quasi-equal]] divisions: less redundant * tuning lattices * [[harmonic limit]] * [[MOSScales|moment of symmetry]] technique (making a chain of one interval) ** produces scales with two step sizes & a finite set of intervals ** less redundant variations: [[MOS Cradle]] or [[Second Order MOS]] * matching tuning to timbre ** eg. rational intonation, selects pitches which are copied in the [[OverToneSeries|overtone series]] of other intervals ** eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments * matching timbre to tuning ** the reverse of the above: making a timbre (usually with a computer) to "match" a stipulated tuning
Original HTML content:
<html><head><title>redundancy</title></head><body><!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Redundancy in a Tuning System"></a><!-- ws:end:WikiTextHeadingRule:0 -->Redundancy in a Tuning System</h1> <br /> Redundancy is one look which makes a tuning system a tuning <u>system</u>.<br /> <br /> Gregory Bateson has this to say about redundancy in his article "Style, Grace, and Information in Primitive Art":<br /> <br /> <em>Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can</em> guess<em>, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains</em> information <em>or has</em> meaning <em>about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."</em><br /> <br /> I (<!-- ws:start:WikiTextUserlinkRule:00:[[user:Andrew_Heathwaite|1258062436]] --><span class="membersnap">- <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;"><img src="http://www.wikispaces.com/user/pic/Andrew_Heathwaite-lg.jpg" width="16" height="16" alt="Andrew_Heathwaite" class="userPicture" /></a> <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;">Andrew_Heathwaite</a> <small>Nov 12, 2009</small></span><!-- ws:end:WikiTextUserlinkRule:00 -->) assert: systems (including "works of art", "compositions", etc) contain layers of differing redundancy, & an instance of "no redundancy" or "little redundancy" has significance (for an observer) in contrast to instances of "redundancy."<br /> <br /> If I look a tuning as a system, I might consider the tuning's "redundancy."<br /> How does this tuning system exhibit <em>pattern</em>?<br /> I care about how a tuning system offers redundancy so that I may <em>choose</em> a different network of redundancies than th one(s) I'm familiar with (a fish attempting to "see" the water she lives in).<br /> <br /> Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it!<br /> <ul><li>definite pitches<ul><li>instead of, or in addition to noise</li></ul></li><li>sustained pitch<ul><li>redundancy in time</li></ul></li><li>a <a class="wiki_link" href="/ScaleIndex">scale</a><ul><li>redundancy in time: "I've heard these pitches before"</li><li>less redundant: a scale which changes (for instance, ascending different from descending)</li></ul></li><li><a class="wiki_link" href="/consonance">consonance</a><ul><li>more than one pitch sounding together & their distinctness blurring</li></ul></li><li><a class="wiki_link" href="/octave%20equivalence">octave equivalence</a><ul><li>B-flat considered equivalent to B-flat...</li></ul></li><li><a class="wiki_link" href="/octave-repeating">octave-repeating</a><ul><li>the "same" pitches are available in each octave</li></ul></li><li><a class="wiki_link" href="/equal">equal</a> divisions of some interval<ul><li>also: <a class="wiki_link" href="/quasi-equal">quasi-equal</a> divisions: less redundant</li></ul></li><li>tuning lattices</li><li><a class="wiki_link" href="/harmonic%20limit">harmonic limit</a></li><li><a class="wiki_link" href="/MOSScales">moment of symmetry</a> technique (making a chain of one interval)<ul><li>produces scales with two step sizes & a finite set of intervals</li><li>less redundant variations: <a class="wiki_link" href="/MOS%20Cradle">MOS Cradle</a> or <a class="wiki_link" href="/Second%20Order%20MOS">Second Order MOS</a></li></ul></li><li>matching tuning to timbre<ul><li>eg. rational intonation, selects pitches which are copied in the <a class="wiki_link" href="/OverToneSeries">overtone series</a> of other intervals</li><li>eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments</li></ul></li><li>matching timbre to tuning<ul><li>the reverse of the above: making a timbre (usually with a computer) to "match" a stipulated tuning</li></ul></li></ul></body></html>