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Topic: Dale Pond
Collected Articles Section: Time Table of Contents to this Topic |
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Bearden's quote below could be seen as a rephrasing of substantial SVP principles. "And as we have seen, all periodicity has a chrono- topological significance and application. Specifically, potential energy must be referred prima- rily to standing waves, and kinetic energy primarily to non-standing waves." From what I've read of it so far the paper describes cycles and cyclical phenomena not as the phenomena itself but as an effect of Time. Bearden divides his Time functions into discrete "types" or "forms" of activity: 1. Occurrence - growth (+) 2. Recurrence - form (-) 3. Development - growth (+) 4. Possibility - form (-) 5. Consummation - (±) form (closed structure), growth (open structure) Dr. Lewis (and many before him) have described this same phenomena (Time as a measure of the progression of events/occurences) as periodicity of cycles and his breakdown of their discrete form and function is (more or less): 1. Initiation, (birth) 2. Short term change 3. Energizing 4. Aspiration, growth 5. Fulfillment, fruition 6. Rest 7. Ending of the cycle in preparation for the next cycle. (death) There is not that much difference between the two sets of periodicities. Reich divided the cycle into four periods. Music and astrology divides it into twelve steps. What Bearden is attempting to describe as a functional property of time is really (IMHO) a function and property of evolutionary forces government by the four properties of arithmetic. In SVP we call this "progressive evolution" and is well evidenced in evolutionary progression of musical overtones and scales. Which is why I've spent years figuring the progressive evolution of musical (vibratory) scales and harmonics. Keely's Law of Cycles describes some of the initiatory influences in such periodic transformation: Law of Cycles: "Coherent aggregates harmonically united constitute centers of vibration bearing relation to the fundamental pitch not multiples of the harmonic pitch, and the production of secondary unions between themselves generate pitches that are discords, either in their unisons, or overtones with the original pitch; from harmony is generated discord, the inevitable cause of perpetual transformation." |
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