Patterns and rhythms

Liberation of Integration, Universality and Concord (Part #11)

The question now is whether we can identify the nature of the series of patterns or rhythms in the light of the first few members of which we are more or less aware.

1-element :

(a) Space: This is the case of the occupation of space by a single model - which can be represented by a point.
(b) Time: This is the case of the single source-event spherical wave pattern.

2-element:

(a) Space: This is the case of the simultaneous occupation of space by 2 models. These can be represented by 2 points, and their relationship by a line connecting them.
(b) Time: This is the case of one model (mix) periodically replaced by a second, which in turn is replaced by the first. Again these can be represented by 2 points, and their relationship by a (bidirectional) line between them.

N-element:

(a) Space: Other cases of the simultaneous occupation of space by N models (or model mixes) can each be represented by an appropriate configuration of points connected by lines according to the relationship between them.
(b) Time: Other cases of one model (mix) periodically replaced by a succession of (N-1) other models, before it recurs, can also be represented by an appropriate configuration of N points with lines between them.

The simpler possibilities for N elements are clarified in Annex 2. Note that the 'relationship' indicated there by a line could, in binary terms, be considered either as one of 'compatibility' (space) or 'consonance' (time), indicated by '-', or as one of 'incompatibility' or 'dissonance', indicated by - Integration indicated by the degree of symmetry which in the time case is related to recurrence.

Annex 2 only focuses on patterns which are significant in 2 dimensions. These patterns are in fact those which have been the focus of attention in the classic communication net experiments (7). A valuable approach to more complex patterns, particularly in relation to time, are the Chladni figures visualized by vibrating powders on a metal sheet (8). Another source is the range of progressively more complex patterns from graph theory (9). Reference should also be made to Johan Galtung's suggestions regarding the use of graph theory (10).

In previous papers (11, 12) the limitations of the 2-dimensional approach have been criticized as a preliminary to considering the significance of the simple 3-dimensional patterns, especially in relation to tensegrity. The latter achieve stability as patterns of oscillation around a dynamic equilibrium condition. The concept of oscillation will now be considered in more detail.