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Text 319, 168 rader
Skriven 2006-04-28 09:54:00 av James Bradley (1:134/77.0)
     Kommentar till en text av Ardith Hinton
Ärende: What's in...  4.
========================
Ardith Hinton wrote James Bradley on 04-04-06 17:16

 AH> You asked for it!  This is the last installment
 AH> of a previous series...  ;-)

If the past is any indication for the present, this will likely end up in a
sysop echo. When I "browse" the message base, and download a QWK OLMR packet,
it never seems to jive with the regular processes of the OLMR door. I'll be
doing a few things to ensure that behavior doesn't happen, but JIC, I'll
apologize now. In skipping back to your prior posts, I assumed this was where I
was planing to reply to later. Now that I have read forward - I *have* replied
to this post. <scratching head> I'll be digging back some more, but I'm already
at the beginning of March. 

I believe my mental block with the "judgment" element, is as it is rather far
from my first mode of operation. I did enjoy calligraphy, and pottery though,
so that much I did have to practice a historic adhesion to techniques, yet the
practice is firmly in the tactile, go-with-the-flow "sensation" element.

 AH>  You can see below the surface without much prodding,
 AH>  and it didn't take much to get me into a kayak.  Now
 AH>  I'm rediscovering an aspect of myself which I'd been
 AH>  neglecting for some time.  ;-)

 JB>  See, just when I think I know what you are talking
 JB>  about... <ROTF>

Let me try this out on you. I bought an electric jack-hammer on Saturday.

You know there is info I'm not letting onto. Your "intuition" tells you this is
not your average household DIY implement. <I hope?> Your "perception" is to
reserve judgment until you have the facts. I know this simplifies these modes
of learning to the root of the language, but I can't seem to divorce myself
from that.

BTW, the jack-hammer was part of a lot of "broken" tools, often with a broken
stowage case, or gummed up brushes and the like.  Now, working on this scale is
mostly a tactile exercise, but it also stimulates my problem solving muscle.
For the same reason, people don't understand why I don't buy the latest Dell
computer, and clear up all the headaches that goes along with older machines.
Not only do I like to get into it physically, I also enjoy the mental
challenges. It's the discovery that is the destination, not knowing everything
in order to build my own from raw elements.

How this folds into the SP, JP, I, I, I... Let me try to summarize.

Perception   retains flexibility to `reserve judgment' 
      
 Sensation   Tactile motivation
 Judgment    Rote memory, conservative, likes structure

Intuitive    Realizes iceberg is larger under the surface.
      A story is likely to unfold w/investigation.


 AH>           Okay, try this.  You arrived at the
 AH> scene of an accident or whatever & sensed there
 AH> could be more to the situation than what had
 AH> first met your eye, in much the same way that
 AH> 90% of an iceberg is below the surface of the

I love that reference, did you notice? <G>

 AH> water.  The intuition component of your
 AH> reasoning style is what enables you to see below
 AH> the surface... and the perception component is
 AH> what enables you to reserve judgement until
 AH> you've collected a fair amount of data.  You can
 AH> & do make snap judgements if the situation calls
 AH> for quick thinking but don't necessarily stop
 AH> there.  You may also enjoy open- ended questions
 AH> where others seem to want immediate answers.

Well, even a perception of a situation has to occur after an assessment,
regardless how fast a brain can act, so I think the interplay between the I and
P is where most of my conflict comes from. Maybe, quite naturally. As I wrote
about in my neighborhood incidences, the interplay between the two, helps us
try to make sense out of seemingly non-sensible situations. I think that's
exactly what you were mentioning. (It's been a couple of rough months.)



 AH>           In many ways, you sound to me like a
 AH> person who prefers using his body to using his
 AH> brain... i.e. the "sensation" component is
 AH> stronger than mine.  But you do a lot of good
 AH> thinking too, even when you sound more like the
 AH> drummer who flies by the seat of his pants than
 AH> the clarinet player with a dictionary in her
 AH> purse.  I got the latter imagery from a Hoffnung
 AH> cartoon.  I must admit, though, that I really
 AH> did carry a dictionary in my purse for awhile!
 AH> I was in a concert band where I sat next to a
 AH> guy who drove me crazy because he ignored all
 AH> foreign terminology such as "staccato" and
 AH> refused to accept my interpretation....  :-))

And, I too carried a `pocket' dictionary in my portfolio. No BS! 

 AH> Since the "intuitive" reasoning styles involve
 AH> another level of complexity, I'll leave them for
 AH> later.  Suffice it to say that, notwithstanding
 AH> certain remarks I made about drummers, I think
 AH> those who are really good at it have an
 AH> "intuitive" component to their thinking.  You

We can evaluate so many genres, that it'll likely turn counter productive. If
any musician can only riff on hard rock, (s)he likely will never learn
dynamics. If they only listen to hard rock, they'll never understand a Joni
Mitchel, or Patsy Cline, let alone Stephan Grapelli. If they never explore a
technical based hard rock band, they will never learn some of the `weird'
chords, or modes of those chords. If they do explore that much, they may learn
about odd timing, but their dynamics will only be associated with a ballad, and
often only dynamic as instruments are added or removed from the score. The
drummer is encourages to hit just as hard, just not as often, and the guitar
solo will be exactly the same dB if not louder.

A base player friend, mentioned a Rush devotee group of guys, in that "They can
riff like crazy, but once the meat was reached, they fell apart." That group
explored all the complexity of the odd time signature, and I understand that
the chord structures are rather revolutionary, but they hadn't discovered the
simplicity, that is usually a prevalent part of rock music.



 AH> alluded to this when you remarked that some of
 AH> the drummers you've known lack sensitivity in
 AH> regard to their instruments and/or to the volume
 AH> which suits the music they're playing.  In order

What, did *I* say that? <L>

 AH> to be really good at it one also needs mental
 AH> flexibility, and that's where the "perception"
 AH> comes in.  You need it when the score calls for
 AH> some piece of equipment you don't have available
 AH> & you must find a plausible substitute
 AH> immediately if not sooner.  The right answer in
 AH> such situations is whatever achieves the desired
 AH> effect....  :-)

One of my last instruction books, came with an LP, as a read-it, imagine-it,
hear-it, play-it situation. On the documentation, the fella wrote about what an
impossible to play piece was that presented to him, so he had to interpret the
written notes, to ones that would sound musical. Often, piano players write
drum scores, expecting us to have the dexterity of a octopus. Guitar players
are notoriously all over the place. Frank Zappa comes readily to mind. (See
next message.) It's nice to listen to the ideas of the ignorant, but comes a
time when you have to make your own mark on a score, or else take a year of
eight-hour days to do it their way. 


 JB>  Have I called you a challenging corespondent? ...Lately?


 AH>           Thanks... I love you too.  :-)))

Ya, I *know* I've replied to this before. <G>

I'll dig a little further back.



... James
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