From: Joe (jhmau@sbcglobal.net)
Date: Fri May 02 2003 - 19:28:46 BST
Hi Sam and All,
Your post of 22 April 2003 2:23 AM was thought provoking. I answered what
Icould, but the stew of "instinctive sensing of reality" keeps bubbling.
I want to examine a pattern intuited from the activity of a brain intuiting
the dq aspect from the point of view of the brain's relationship to
awareness. I have changed the subject name to MD Awareness and intuition.
Excerpts from AUGURIES OF INNOCENCE by William Blake:
To see a World in a Grain of Sand,
And a Heaven in a Wild Flower,
Hold infinity in the Palm of your Hand,
And eternity in an Hour.
To see a World in a Grain of Sand? It seems reasonable that anything can be
reduced to smaller particles. I will do some supposing. Suppose that the
smallest particle of something learned in a pattern is a vibration in a
medium. Dq is undefined and will only be an aspect of a patttern. Is it
possible that what I learn includes much more than I am aware of.
I will list some mediums of vibrations. Light moves through a continuum
generated by the sun and planets. Gravity surrounds the earth. Is
awareness a field generated by my DNA? Our planet has a thinning atmosphere
as I climb higher. Our planet contains a magnetic field. Shock waves pass
through the Earth.
Suppose that I have different brains to interpret vibrations from different
mediums, e.g., Earth, magnetic field, atmosphere, gravity, awareness,
continuum. Is it reasonable that an instinctive sense of reality is
configured to derive patterns from vibrations? The inorganic pattern is
known by contact, light, and sound. The organic pattern is known in its
rebellion against gravity. The simplest organic organisms are one-brained.
They intuit a dq aspect different from gravity. The social pattern is known
in its means of reproduction. The social organisms are two-brained,
intuiting two aspects of dq. The intellectual pattern is known in its
certainty for action. The intellectual organisms are three-brained. They
can intuit three aspects of dq in a pattern, namely, purpose, existence, and
quality. "To see a World in a Grain of Sand" can mean an awareness of the dq
in a sq pattern of evolution, a vibration.
While singing, I can raise or lower the note. I shape the vibrations in air
with the form of my mouth and throat. I form patterns and create another's
acceptance or rejection by intensifying the pattern.
Musical notes Do, Re, Mi, Fa, Sol, La, Ti, Do, or A, B, C, D, E, F, G, A, or
1, 2, 3, 4, 5, 6, 7, 8, indicate intervals. The intervalls have depth, flat
or sharp. The chords based on those notes have been given names: Tonic,
Supertonic, Mediant, Sub-dominant, Dominant, Sub-mediant, Seventh or leading
tone, Tonic (octave) or I, II, III, IV, V, VI, VII, I. "Some notes sound
better together than others....In any key, there are three chords which
appear in virtually every basic progression." THE GUITAR HANDBOOK, by Ralph
Denyer, p. 78. "Chords are ordinarily built by superposing intervals of a
third....The simplest chord is the triad, a chord of three tones obtained by
the superposition of two thirds." HARMONY, by Walter Piston, Thnird Edition,
p. 10. "Consonant and dissonant intervals. A consonant interval is one
which sounds stable and complete whereas the characteristic of the dissonant
interval is its restlessness and its need for resolution into a consonant
interval. These qualities are admittedly open to subjective, personal, and
evolutionary interpretation but it is clear that in the common practice of
composers the following classification holds true.
Consonant-the perfect intervals and the major and minor thirds and
sixths.
Dissonant- the augmented and diminished intervals and the major and
minor seconds, sevenths, and ninths.
(Exception- the perfect fourth is dissonant when there is no tone
below its lower tone. It is consonant when there is a third or perfect
fifth below it.)" op. cit., p.6.
I compare intuiting the three aspects of dq in a sq pattern to hearing a
musical chord. I sense the aspect 'I learn' the note C, the aspect 'I move'
the note G, the aspect 'I am' the note F. All three notes are present in a
quality pattern, a C major chord. My awareness can include the tonic chord
from one brain, the dominant from a second brain, the sub-dominant from a
third brain. Dq intuited in different aspects. The pattern contains the dq
like the tonic of three different keys. Variations in the pattern change
intensity. I am aware. I remember. 'I am', the sub-dominant chord, is a
dissonant interval anless another stands below it. Each step is unique, and
if not followed precisely the tone augments or diminishes--I see shadows in
a cave, or I do what I do not want to do, or I become what I hate.
My awareness generated by my DNA is also a pattern. Unlike other patterns
this is my individual pattern. I compare the dq aspects of my awareness to
a G major Chord. Initially I resonate to the G, the tonic in other
patterns, and then the dominant D, then sub-dominant C. I do not resonate
to the note F from the previous example, unless I change my awareness. This
would be a dq movement. I change my awareness, I learn something new, I
become more. I make an effort to thear F. I am not ordinarily aware of my
brains. With effort I can separate out dq activity in a pattern. This is
my interpretation of Pirsig's distinction between dq and sq.
Joe
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