Rhythm Oriented Ontology

ok.. the title suggests a tall order, and this post is a quick something – note(?) – to something longer later on in life.

The trajectory here might not actually relate to rhythm ontology, despite a sensation – not desire – that it does. I can not explain the sensation, apologies and please try and bare with this..

At some time i was wondering about the rhythms of ontologies. The crossings, transes, sequences, foldings, etc. – of ontologies.

The other element is that in my mind this is a trajectory kind of research rather than proving/disproving an idea/hypothesis/notion/ideal/prejudice/etc. Rhythms, in the way they form(??) possibly live, begin with a certain known and evolve towards unintended unknowns. just clap hands in a certain rhythm – boom bam bam / boom bam bam – and i bet, at some fold of timespace, the rhythm will change, perhaps develop, maybe evolve. boom baaa bam/bam – or whatever.. That will come, seemingly emerge, rather than be pre-decided upon. What will be prejudiced is doing rhythms with clapping – probably.

Is this a similar way, or analogous to, generative hypothesis science? Where a hypothesis is the aim rather than motivator? (i think that’s what it is – and if not, then the practice of generating questions/hypothesis – rather than investigating them – is def kind of stuff that interests me.)

If generating art questions to imagine and pursue is possible, then how will the rhythms of the generation process will be?

Also, such a practice is based on knowns. Known elements. If I know that element A is collidable with B, then the question is how to collide, rather than what might happen if. The question is how to collide and offer the question of that collision to visualisers, thinkers, dancers, actors, writers, drivers, teachers, coders, etc. – to practice with. No?

Hummmm….

( A Post by Hilan )

Old Aristotle had that metaphysics had to say something about each of the
four primordial causes stages he postulates: 1. ousia or quiddity (the
realm of forms or principles), 2. hypokeimenon or yle (the realm of the
substrata), 3. engine, or the realm of modification (where efficient causes
are located) and 4. the realm of ends (and final causes). I was wondering
how ROO would fare in those four stages. Rhythm is both ousia and
hypokeimenon, in the same sense that there are no hypokeimenon in Leibniz.
In Leibniz, monads are implemented in other monads etc – even though there
are departments, those are themselves governed by monads, always, so
implementation is a monad to monad relation. In ROO, rhythms are
implemented in other rhythms, there is nothing a-rhythmic behind rhythms –
but rhythms can appear in different media, for instance in material folds
and in waves. Now for 3. I guess rhythm is intense, and therefore form is
an efficient cause: rhythm is such that it contaminates other rhythms,
provoke rhythms. Intensity makes formal causes into efficient causes. The
entrainement capacity of any rhythm is an efficient cause and it is present
whenever rhythm is present – form is itself an agent of modification. As
for 4, no final causes, I suppose.

“What” is a question of particular aesthetics.

If I was a “what”, if I was one of that particular species, How will I Be, and How will I sense the connections, the interactions and my being in and within life?
*notice*
to get a notion of inner workings of reality, even as “what”, i have to imagine How – the devil’s question <<"devil is in the How">> – rather than, for example a recursive one such as the Whatness of What..

The What as a blip In a sequence.
Descriptions are What X is/might be. Now am writing a description of What is missing if one’s focus is on What. Not How that missing element might be or even is.
By providing instructions, I am keeping it safe. I control the ingredients, I get the feeling that I am building something by my own will. By focusing on What i can feel as if i get near to what i might wish to express. I have something in mind – and the What is how I get to express/share stuff the reflect it.
However, like describing a dna sequence while thinking that’ll be enough to create/reproduce, for example, a species – and that’ll ignore the epigenetic material – so does the focus on the What. If rhythms are epigenetical in the sense that they are essential compounds that link raw data – genes/material – with it’s own movements and that of its environment’s, then How they live rather than What they are, is a kind of question that gets to bring out Who they are. (Perhaps. It seems logical, however it is worth mentioning that life isn’t logical..)

In that sense, perhaps the way to do an ontology of rhythms – indeed rhythm based or oriented – entails, or even inherently entrains, the need to be with them rhythms, to Be as they are. To be a How, rather than a What.

Indeed, there might be a sort of survivalist view
To get something described – via the What it is – one gets the element to have an initial presence, a contour. What am I talking about? A tree/ A tap/ A key – etc.
How am I talking about is more complex
I have no idea What this might be, however my interest is #How it lives. How the connections, the switches interact. I think that maybe there is a conduite kind of flow between How the involved entities’ materiality is linked. We have metalicness, liquidness, fleshness.

Yes, it could be. Taps might be an instance. However there might be others. If my focus is on the rhythms, by saying a tap – perhaps an not helping?

Well.. It could have been:
I think the rhythms of – for example – trees are, x y z. However then the focus would be the what of these rhythms.
By sharing doubts and abstract questions, am allowing people better than me in doing What – to extract Whats via the How.. No?

indeed, how would I know?

maybe, if you want to judge value of seemingly abstract stuff, you want to critique the fact that the How of possible tap reads like a description – it is not yet a genuine How.. How of knowing not and not knowing what.

Maybe How you what to decide the value, for you and others, is through examining the immanency of elements to one another?

Just noticed that “garam” is in reference to Intensity. Perhaps intensity of Heat?

Anyhow, Intensity is, I think, very interesting rhythmically speaking/thinking. Apart from my personal linking with Intent – a far fetched, but hey – intensity is made of rhythms, movements of sequences in/of timespace whose speed changes the material intensity. Intensity is always There – but we tend to place it on a scale, to capture it on a line between more and less – which is the other interesting element, imho, but possibly not for now..

So we, Hilan, Denise and me in a curry-land place like Bradford, and missed the intensity element of the food we were looking for.. Mind, we could also refer to the Vodka in the only russian restaurant in the north east (england, not britain/uk), as different speeds of rhythms..
I think we should go on a rhythmical food & drink tour!! Get some rhythm oriented recipes.. Even better, get some rhythm pov recipes! Ones from the Point of View of Being rhythms.. Based on folds, intensities, crossings, pungencies, piquancies, collisions, speeds, etc..

Indeed, we could do some Masala – mixed spices – which are themselves in a rhythmic timespace, instead of a bag.. ie, start with coriander + curry powder, then take half out and add some chilli pepper powder, with cinnamon, then change to a clean cut fresh parsley, and 5 mins later sprinkle slowly with super hot curry..

Last night we walked in Bradford.
As Brasilia’s general and specific committee of street vision
(missmanagement/under_management/under_unmanagement)
rhythms – we were looking for a curry place to find, find not, un-find, under-find, cross-find, and de-find – with perhaps other additions.

Here are our intimal rhythmic materials:

– we all had karahi dishes.
– we shared having not many other dishes.
– there was an unfind at the russian revolutionary restaurant:
— go to the other side of town and check an indian buffet place.
also, a curry place Not:
— if we came 7 months ago, there would have been a fab curry place just around the corner.
..and a curry restaurant find was one with karahi dishes.

Undone Karahi fish:
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Trans Karahi fish

Karahi vegetables (fish-not)

Karahi sequence only

Carrots (cut into squares) 1/2 kg
Bottle gourd (cut into squares) 1/2 kg
Tomatoes (chopped) 1/2 kg
Peas 2 cups
Garlic cloves (chopped) 2
Spinach (chopped) 250 grams
Yogurt 250 grams
White butter 100 grams
Dried fenugreek 1 tbsp
Crushed red chillies 2 tsp
Coriander powder 1 tsp
Hot spices powder 1 tsp
Pomegranate seeds 1 tsp
White cumin seeds 1 tsp
Green chillies 10
Cloves 4
Black cardamoms 2
Green cardamoms 2
Salt to taste
Coriander leaves for garnishing

Karahi derecepe (based on every 2nd ingredient):

2 Cups/600ml Water or Vegetable Stock
2 Teaspoons Garlic Puree
200g Butter Ghee
4 Teaspoons Mild Curry Powder
1 Teaspoon Chilli Powder
1 Teaspoon whole Panch Puren Seeds
2 Red Peppers Chopped in large chunks
Half a Tin of Chopped Tomatoes
50ml Pureed Onion
Roughly chopped fresh coriander leaves to garnish

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