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Bill Pirkle:
>Jim Paterson mentioned that the vocabulary of one art form is often
used
>to express something in another art form by way of metaphor and I
agree.
>But knowing something about how the brian works from studying
artificial
>intelligence, I am interested in knowing why the brain (or mind) would
>choose a particular word
In more general terms, this is called sinestesia ("syn": with, together/
"aisthesis": perception), which is the vocabulary of a specifical sense
used to express something in another sense. It's also a rhetorical
figure. An example is "a soft sound" or " a dark sound". The problem is
that the brain of an individual don't "choose" a particular word (for
example: "dark", instead of "luminous" in the case of bass frequence
sounds), because those associations are
a) culturally determined (then, the brain don't choose a farthing) or
b) the product of an intrinsec physical or spiritual determination which
borns with us (then, the brain don't choose a farthing neither).
Of course, there is a large polemique between a) and b). Today it's
generally accepted that sinestesia is culturally determined. Tomorrow,
perhaps, the second position will be "generally accepted" too.
Bill: all your questions are very interesting. They leads to a general
subject which is (if you have noticed it) the problem of meaning in
music. This subject is particularly intrincated, and has been the matter
of main semiotic studies in music. I don't know if you've read Abraham
Moles' "Emotion and Meaning in Music". If not, I think it would be very
interesting to you.
Pablo Massa
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<DIV><FONT color=3D#000000 size=3D2>Bill Pirkle:</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV>>Jim Paterson mentioned that the vocabulary of one art form is
often
used<BR>>to express something in another art form by way of metaphor
and I
agree.<BR>>But knowing something about how the brian works from
studying
artificial<BR>>intelligence, I am interested in knowing why the brain
(or
mind) would<BR>>choose a particular word</DIV>
<DIV> </DIV>
<DIV>In more general terms, this is called sinestesia ("syn":
with,
together/ "aisthesis": perception), which is the vocabulary of
a
specifical sense used to express something in another sense. It's also a
rhetorical figure. An example is "a soft sound" or " a
dark
sound". The problem is that the brain of an individual don't
"choose" a particular word (for example: "dark",
instead of
"luminous" in the case of bass frequence sounds), because
those
associations are </DIV>
<DIV> </DIV>
<DIV>a) culturally determined (then, the brain don't choose a farthing)
or
</DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>b) the product of an intrinsec
physical or
spiritual determination which borns with us (then, the brain don't
choose a
farthing neither).</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Of course, there is a large
polemique between a)
and b). Today it's generally accepted that sinestesia is culturally
determined.
Tomorrow, perhaps, the second position will be "generally
accepted"
too. </FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2> </FONT></DIV>
<DIV><FONT size=3D2>Bill: a</FONT><FONT size=3D2>ll your questions are
very
interesting. They leads to a general subject which is (if you have
noticed it)
the problem of <STRONG>meaning </STRONG>in music. This subject is
particularly
intrincated, and has been the matter of main semiotic studies in music.
I don't
know if you've read Abraham Moles' "Emotion and Meaning in
Music". If
not, I think it would be very interesting to you.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Pablo Massa<BR><A
href=3D"mailto:[log in to unmask]">[log in to unmask]</A></FONT></DIV=
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