THE ALLEGORY OF THE FROGS

Sympnoia: Can we examine the progression of Time and its organization through any other means? Deriving all participant materials from the First Cause, Time, and its manner of divisions is certainly one way to illuminate Time, but of another? Or others? I am most curious about all manner of realizing Time.

Proklos: Most certainly, and I greatly admire your wish for further explorations of this matter of Time, and the manner of its organization. To open our minds to this task, we can begin so by hearing the Myth of the Frogs, or the Allegory of the Frogs. For there was a time they say a long long time ago, when there lived in the forest a community of frogs. They were remarkable creatures and they had incredible abilities both in their singing and in their hopping and in their abilities to communicate one with the others, and the others with the one. When they were all in a pond together they sang in such a way that all the frogs in the pond could hear this singing and knew by the manner of their singing and the tones they were singing that they were all in the same pond together. They would sing in just this fashion and they would know and be able to understand - they were all together. But then frogs being frogs, and though they enjoyed swimming and singing in the pond, they also sought to explore the forest around them. So sure enough, one by one each frog individually would hop out of the pond and hop in various directions all throughout the forest, some hopping high some hopping low, some hopping quickly some hopping very slowly, some going in one direction and others in other directions. All moving in their own individual manner and all singing in their own individual manner too, some singing high some singing low, some singing quickly some singing very slowly, some singing facing one direction and others singing in other directions. And again frogs being frogs, though they enjoyed hopping and singing in their own individual fashion, they also remembered how much they enjoyed swimming and singing all together in a pond. So sure enough one of the frogs would happen upon a pond and would begin to sing so joyfully that all the other frogs recognized the sound and would then begin hopping and singing towards the frog who had found its way into the second pond. And again some frogs would hop and sing quickly, some slowly, some would hop and sing in one direction, others in other directions - but eventually they would all make their way to the second pond. And as each frog would enter that second pond that frog would begin singing in that joyful voice that told all the other frogs that they had arrived in the second pond and for the others to come and join in the fun. And after the last frog finally hopped into the second pond, all the frogs would begin singing in such a way that was understood by all the frog community to proclaim that they had all made it to the second pond and they were all singing together. Now of course they all sang together until yet again one of the frogs decided to go for a little exploration and hopped out of the pond. And then all the other frogs recognized that their singing had changed, that one of their members had left that second pond – so they all, again individually, left the pond, each at their own speed, hopping as they felt and singing as freely as they wished, as they went about their journeys. And this of course continued as they went about their hopping and singing and swimming and exploring, from pond to pond to pond to pond.
Now a human happened upon them as he was sitting next to one of the ponds where they were singing. He marveled at the concert that they were presenting to him. Though he did not speak frog nor did the frogs speak human, he thought he should attempt to communicate with them and understand their manner of hopping and singing. Well no sooner had he thought this thought, had he had the idea to try to understand what the frogs were doing, when suddenly one of the little frogs hopped over close to the pond’s edge near where the human was sitting. The frog with its little frog foot drew in the sand a kind of a circle. And then the frog made a slow look all around the pond, around the entire circumference of the pond, as though the circle that had been drawn in the sand was describing the edge of the pond. Then with its little frog digit it placed a dot right in the center of the kind of circle it had drawn in the sand. And then it clapped its little frog hand against its little frog chest as though it were indicating that the dot in the sand represented the little frog, who was inside the kind of circle which was describing the edge of the pond. This drawing in the sand showed a little frog in the middle of the little pond. Well, thought the human, this must be the sign for what I am hearing now – all the frogs singing together, singing in such a manner that they sound as with one voice. When this thought was finished in his mind, the little frog must have understood that its drawing had been understood, for it quickly leapt out of the pond and continued on its exploration of the forest. And then sure enough, the human noticed that all the other frogs, one by one, they too leapt out of the pond and hopped on their various adventures, hopping and singing in most interesting melodies and rhythms and volumes, each frog’s singing and hopping traveling throughout the forest. The human tried to follow them as best he could, though this proved difficult. Until he noticed that after a period of time that lasted just as long as it seemed most natural and appropriate, he heard a certain sound that was a steady sound which to his ear was growing bigger and bigger. He followed his ears which directed his footsteps to the edge of another pond, and sure enough, all the frogs were singing and hopping into this new pond, and as they jumped in they began to sing in tones that blended all the little frog voices into one voice. Soon all the frogs had landed in the pond and the chorus of frog-voices singing all together made the sunshine seem to glow even more radiantly. Well, the human was quite amazed and he remembered the little drawing in the sand that his frog friend had drawn for him, and thought, “That little almost-circle with the little dot in the middle, well that joyeous blended unified sound which I’m now hearing, is that shape turned into sound”. When the human left all of his frog friends in the forest, for them to continue their singing and hopping and swimming and adventuring and exploring, he traveled to a place where there were humans who also sang. So he showed them the shape of the drawing in the sand, and explaned to the human singers how the frogs had done their singing. And since he had been traveling where the humans spoke a language called Italian, they called this drawing-shape the frog had done in the sand an Italian word – the fermata.

Sym: What a marvelous myth, and well describes our recurring subject, ars imitatur naturam in sua operatione. It is not the imitation of the frogs voices which this allegory teaches me, but their manner of progressing through Time!

Pro: You have well and quickly captured the essence of this tale. And as the Scribe once said, “every telling has a taling, and that’s the he and the she of it”.

Sym: What is also not to be overlooked is the fsact that no ONE entity is controlling the progression of the time, not even the “composer”, nor a “conductor” nor any ONE of the participants, but it is a method of progressing which requires the entire COMMUNITY – of frogs, singers, musicians, humans – for the progression from unity to individuality to unity, and so on.

Pro: Again, you have grasped the beauty of this Time in its entirety, and as Erostotle once wrote, “asteron panton o kallistos”….of all the stars the most beautiful. How might you propose to utilize this manner in your way of organizing time and sound?

Sym: My first thought would always be with a study of methods, perhaps written for a string quartet. The communally understood fermata might be a timbral type, or a rhythmic unity, or a pitch shape, or an amplitude shape or some such combination of all, for example, each string player playing any natural harmonic, with a dynamic change which was always p to ff over the course of 4 counts, such that all players would have to arrive and realize that “sound-complex” before they could go off and play their individual musics, until the next fermata of their “playing any natural harmonic, with a dynamic change which was always p to ff over the course of 4 counts” – which would again communicate to the other players that they had arrived at the next fermata, that they had arrived at the next “pond” and they would wait for the other 3 players to arrive there as well, before they could again, set out on their individual sonic “adventures”.

Pro: Most profound and glorious this study of Time and Sound will be. I await its realization most wholeheartedly.

Sym: But, dear Master, may I also make a request to see and hear something more akin to the methods and manner of the Allegory of the Frogs, so that I may use this for furture understanding and illumination in my continued work?

Pro: My most kind and agile-minded Sympnoia, in hearing you speak your mind and your thoughts and your responses, and most importantly your ideas for the sonification and temporalization of this Allegory, I think the title of “Master” may belong to you! And I am most happy to show you a work which uses the methods we have discussed that have sprung from the Myth of the Frogs. Though this is a round, it follows in the same manner, and it rests herein:

Proklos:
Let us continue and see where this journey leads….
Proposition 1 –
“every primary cause infuses its effect more powerfully than does a universal second cause
when a universal second cause removes its power from a thing, the universal primary cause does not withdraw its power from the thing, the power that is first in arriving is the last at receding”
…these statements would then proclaim that what is above has greater effect, that what is above is infinity, which is Time (above infinity is a realm of which we have no experience, so we must pass over this in silence, as the Logician so clearly stated). So Time is the primary cause and its effects are its participants – that is those elements which are derived from/followed by/realized within/the result of Time.

Sympnoia: Though your statements have clear logic and thought, how can we ever know what manifests this Unity?

Pro:
Proposition 7: What is beyond Infinite Time? What is “above” Infinite Time”? Contrary to what I have stated, The Brother states that the first multiplicities after the first Cause are the intelligences - that which is divisible is divided into multiplicity, magnitude or motion, when a thing is in this state IT IS UNDER TIME…it receives its division only in Time.

Sym: This is most diffficult to follow, though I will through the rest of my days attempt to do so. Can you somehow give an indictation of how Time manifests, and how we, as organizers thereof, can follow its manner of operation?

Pro: Most assuredly, we must begin at the beginning, and with Time, therefore, we must begin…

Sym: Can we follow certain steps through to illuminate the path?

Pro: As the Santiagan once wrote, “Time passes, and I, more and more pleased being in it, am pleased that there is Time, am pleased to be contained in Time, to be the content of Time.” The same might be said of Space, but that is for a later discussion. Let us return to The Brother, "time, without magnitude, body or motion – UNDIVIDED, indivisible." So what does this affect? And how so? We live in a division of Time, that is from birth to death. If we are organizing Time within that time then we can assign a fixed or a changing value to that participant within our overall Time.

Sym: And how do we assign this?

Pro: A fixed value would then be a Secondary Cause, which would then have its fixed effects on those elements below that value.

Sym: And so a changing value would cause changing effects to all which followed?

Pro: Most assuredly and well followed. Let us examine and hear such a progression of Causes and Effects, for, to paraphrase Psuedo-Dionysius “Time is the very essence of Sound through Time’s necessity as the cause of all Sound”….and let us again see where this journey leads….
If we wish to organize, for example, 6 minutes of time, as stated before the divisions of this might be fixed or might be randomizable. Going further, we could say there will be 6 dividions of this 6-minute duration, and each division might fall within 60 seconds, plus or minus 45 seconds [shortest duration 15 seconds >>> longest duration 105 seconds]. So we create a tool which allows this to be formulated, which has given this as its chance-determined outcome:

Sym: And now, with this aspect determined, we can apply similar methods or manners of operation, to the “smaller” paramenters which fall within Time and the divisions derived thus far.

Pro: Most excellent and well-deciphered. As witness to these efforts of discovery, you listen thoughtfully and reason wisely. What might you suggest for deriving pitches, based on this method of dividing Time?

Sym: Since there is a central duration, the 60 seconds, and then a randomly determined amount added to or subtracted from that, we could being with an instrument which is able to play a “middle C” pitch, and then find the instrument’s range and have that set the pitches to use. And I further propose that since there are 6 sections in this étude, we might form 6 different sets of spans above/below the central “middle C”, such that division 1 has range of +/- 12 semitones; division 2 has range of +/- 32 semitones; etc. We could also create a random-number generator for the number of pitches for each section, with a minimum and maximum so that some divisions could be very dense and others quite sparse, illuminating all the participants in the manifestation of each division.

Pro: This is quite an intriguing manner of organization. A question: might the minimum number of pitches for a section be ZERO?

Sym: I see no reason to refrain from the possibility of silence, of organized and thence performed silence, for isn’t silence merely the activity of listening?

Pro: Well-said and well-placed in our discussion of the progrssion of the first multiplicities after Time, the first elements capable of delineation by magnitude, the first participants after Time, whose essences are able to move through Time depending on the cause of Time for their becoming effective.

Sym: And we must not forget the other sonic parameters; amplitude, timbre, smaller durational units (so-called rhythms), and when entering the electro-acoustic realms, even spatial location. timbral changes, granular synthesis and the like.

Pro: But how does the differ from the many other methods where “sets” of these parameters are used? Those composers who make great use of the number twelve, those who derive sonic organization, direction and content from the “spectral” analysis of sound?

Sym: We must not forget where this journey began, with the random selection within a limited multiplicity – the first causal aspect of this étude. I have attempted to outline the further steps which might be taken to continue the energy and manner of that operation, the division of the overall time into smaller temporal participants. And I never knew the outcome of this beforehand, it was all a continuous mystery, from the division of time, to the pitch-content, and we will go further using the same methods for the remaining sonic components, and in the end arrive at the composition of the 6-minute time-étude1:

Proklos: Why, my dear Sympnoia, should we be attempting this long investigation into Time and Sound, especially now, "when music has become almost arbitrary and composers refuse to be bound by any rules and principles, detesting the very name or idea of school and adherence to such, loathing these like death itself. We cannot hope to call back composers from the unrestrained insanity of their writing to normal standards. With this work let our object then be to give to those without such a position a starting point" [NB] from which to continually begin, to begin again ad libitum and begin yet again ad infinitum. What would be your thoughts towards this endeavor?

Sympnoia: This is precisely the reason I have sought you out, to understand the workings and manner of the operations of sound and time, knowing full well this is beyond a lifetime’s pursuit…but then what better time to begin than at the beginning of this present time.

Pro: Ah, my illustrious and industrious fellow-traveller, this was just the measure of thought I was hoping to hear from you. And you have rasied a very sound point about our studies: sound and time. But just as you have, I have mixed them up in our initial and earlier forums…for Time is that with which we must continually begin, which is the Prime Cause of all other effects and following causes.

Sym: And so let us. Let us look into the matter now.

Pro: And so we shall. Let us imagine 6 different performers, in 6 different areas of the world, 6 different time zones, 6 different musical histories/trajectories/concepts/concerns…but ALL operating within the same manner and progression of Time, though each moving through the primary Time as individuals.

Sym: Yes, this is easily imagined, as perhaps would even happen within the choice of any 6 musicians anywhere! Even in the same room!

Pro: Precisely and expertly analysed….for what is there different between separate time zones or separate spaces 3 feet distant? Then let us continue, and ask how would these 6 come together? How and perhaps in what manner of operation?

Sym: Would these 6 then be in some kind of agreement or shared understanding of method or practice?

Pro: Not necessarily. They could easily and naturally have 6 different practices, 6 different sets of collective sound production, 6 different references as to their organization of time….all this and every other aspect would be divisible by their 6 individual selves…..they would only be in agreement about the manner and duration of their Time of playing together, and that their sub-divisions of time would be both individually and chance-determined.

Sym: So then, how could these 6, so divided and individualized and separate, how could these 6 ever come together?

Pro: This point is well-taken, as seemingly they could always be at odds and at wit’s end as to any type or method or manner of being together…..

Sym: Yet, I sense in you, my teacher and Trice-Great Successor, that there is a way…..

Pro: How true and indeed how self-evident is this? The manner of operation is removed from the 6 egos, and is relegated to non-ego, non-intentional methods of assembling materials, which still calls on the 6 to bring into their collection ALL that they have gained and gleaned from their individual histories and sound experiences...in fact, this is the whole point and effort is such a coming together.

Sym: How ever would this proceed??

Pro: Thus……

Pro: Here is the visual representaion of a work in process, which has been defined as being 5 minutes in duration - total time in minutes, which was mutually agreed by all participants but which could change to fit any program or performance requirement. The collaborators have also determined that they will create 6 sonic materials for the 6 EVENTS (the number of events between which this PATCH4 will randomly choose), and the minimum duration for each EVENT will last minimally 5 seconds, and the maximum duration will be 30 seconds. At the 17 second moment in this realization, one performer will play their EVENT6 material for 28 seconds, another will play EVENT4 material for 15 seconds, and yet another performer will play EVENT3 material for 20 seconds. There might be 3 or more performers realizing this work, and combining their EVENT material in such a way.

Sym: But how can you know how these elements will combine, if these EVENT materials will go together or not, or be able to sustain their time durations?

Pro: This is precisely the point….we nor they can pre-determine the outcome. They and we must be open to the results. We must see that this method or manner of operation is a form of “hiding the universe within the universe”.

Sym: And must this be for sound making collaborators only?

Pro: Absolutely not! This manner of Time-divided collaboration could be realized by any time-based performer. Such as asking 1 (or 3, or 6, or….) of the following or any combinations thereof (some possible examples are given, and each musician as well as each dancer would design their own Materials and assign their own number to each):

Musician – 6 musical events, distinct and variable from within; one event = silence
[ for example: 1=long soft tone freely choosen; 2=aperiodic noise; 3=any repeated rhythmic cell; 4=3-pitches played in atemporal succession; 5=polka at fixed tempo; 6=silence]

Dancer – 6 movement events, distinct and variable from within; one event = silence [how is “silence” shown through movement?]

Lighting – 6 lighting plot events; some distinct, some stable/some variable from within; one event = silence [how is “silence” shown through light?]

Costume – 6 different additions to existing unitard; stocking cap (head), pre-tied necktie (neck), scrunchy (left thigh); scarf (right wrist); black gaff tape applied (torso/back); 1 event = silence [how is “silence” shown through costume?] = removal of one item

Set/Decor – six different stage alterations; bowling ball (rolled across upstage L to R); placing wine-bottle drying rack – thank you Marcel; rolling on a white board w/ or w/o words written; unrolling a fabric across back wall (pre-fixed on one side and then fixed at the other); placing chair downstage R facing audience; 1 event = silence [how is “silence” shown through set/decor?] = removal of one item

Pro: Or have them create their own system within this system to operate, following the PATCH4 model of overall time-duration; sub-division of minimum/maximum durations of EVENTS, and number of possible EVENT materials, as illustrated above, and also which can be found HERE for those who'd like to explore this in performance, and HERE for those who wish to explore using MAX.

Sym: Most perplexing and unfathomable, yet I want to try this and experience both the creation and the results of same.

Pro: And so you can, thus…6 sound artists in 3 different locations in 2 different time zones!

NB [from the foreward of Johann Joseph Fux "Gradus ad Parnassum"]

Sympnoia: Yes, this method of re-ordering pitches is clear and it presents a new question, which is, how then is Time organized within this work?

Proklos: My dear and insightful Sympnoia, you have struck the true essence of this manner of working…how do the 2 sets of material appear in Time?? Do they march along side by side in lock-step? Or do they travel their own trajectories through Time, with each one independent of the other?? Let us recall Aristotle through Aquinas: ars imitatur naturum in sua operatione.

Here is what I propose to examine:

lublin timings 1

.....and:

lublin timings 2

You'll notice that the timings are based on the overall Time-schema of the work being 24 minutes in total duration. The time is divided into 18 sections which relate to 18 sets of material where pitch, dynamics, lesser duration and timbre were chosen using chance-operations and random processes. The Timings were determined using the mean-time of 80 seconds (24 minutes divided by 18) and then each of those durations could be of greater or lesser duration by 35 seconds, so the shortest time for any of the 18 sets of material was 45 seconds, and the longest time was 115 seconds. Within than span (45-115 seconds) each of the 18 sections was randomly determined so that the materials for each separate instrument were moving in time at an individual random rate.

Sym: As would be the case if sitting beside a pond, one were listening to the voices of 2 different frogs singing, they would not necessarily be singing in "the same time". And any moments where they happened to sing together, begin a sound together, end together, etc....?

Pro: ....this would be the result of nature, not of a human's intervention and control....precisely!

Sym: Again, I must ask to hear more of this way of organizing Time.

Pro: And so you shall. And in viewing the materials in Forum I, along with the two time-scores herein, you will sense the passing of a natural time.

Proklos: Welcome my dear Sympnoia, fellow explorer in the realms of sound

Sympnoia: Thank you kind Proklos for allowing me entry into this symposium of sound and the ideas relating to such. Let the explorations and discoveries begin.

Pro: Your enthusiasm gives great energy to our journey and as you say, we are here in essence to begin this journey. I gather you wish to go through the various categories and fundamental elements of sonic construction and organization?

Sym: Precisely.

Pro: Let us begin with the construct of 10 pitches, randomly chosen for a violist, thus:

Sym: now again a new random array of the same pitches:

Pro: And yet again a new random array of the same pitches:

Sym: Each one of these gives rise to many ideas and concepts, I would wish to hear this method in praxis.

Pro: And so you shall…here are the beginnings of such a construction for piano and violin…note the pitches…and to the method of pitch selection and randomization have been added a method also chance-determined for dynamics and timbral variation, thus:

Pro: And here are the 2 parts upon which have been applied these methods…

Sym: And the sound??

Pro: …thus…