and somebody said I can get anwsers in HERE, just post a question, and somebody will reply
(please be gentle… I know I’m in way over my head in here and I am respectful)
Why do you call it “The Chiff and Fipple Poststructural Pub”?
If structuralism has linguistically been dismantled (by deconstructing it) and it becomes poststructural and (because the earth is spinning) the movement then becomes some kind of modernity becoming postmodernity (everything seems to ebb and flow… hightide/lowtide or tacking, zigzaging into something else infinitely, or whatever), why isn’t this thread called something like… “The Movement Pub” or “The Shifting Absolutes Pub” or "The Pre-Reflective Underlying Assumptions of Concepts Pub?
[there are intellectual movements, musical movements, bodily movements=(broadly_to include everything, narrowly_cranial to rectal… and the rectum has the final answer) and I am confident that this has already been discussed somewhere over the rainbow, oops… tunes in deep memory… how’d that get in here]
OK, my second question, (keep in mind, I am respectful… and again, PLEASE be gentle), I’m looking at the basic music scale the teacher gave me (8 notes, absolute notes if you will like they teach, Do Re Me and so forth), and I know they’re not absolute because I’m in the Poststructural Pub, and I’m starting, in the beginning, on the low D and there is an “infinite symphony” between the low D and the very next note the E, keeping in mind that infinitesimal symphony startnote/endnote, HOW do I get to the third note on the scale = Fsharp? I’m between the two first notes D&E, Do_infinitesymphony_Re (I’m stuck in a hole like Winnie-the-Pooh, or where end of movie Amedeus, the composer Antonio Salieri states he’s stuck in life of mediocrity, it seems to be simultaneously in flux and stuck, Newtonian movement & Dead in the Water/Constipation). My thought here, I don’t need 8 notes at all, I only need TWO notes (theoretically/hermeneutically/metaphorically/linguistically), thus I ask, can the scale of 8 be dismantled to 2 notes? And perhaps, the six hole whistle be modified to a two holed-fingered model?
3)My last question (for now and if you have timelessness to spare), PLEASE, PLEASE be gentle… I’m going to be forthright direct. WHY and HOW can teachers grade students at ALL, while as the world turns spinning everything in simultaneous flux, constant movement, without absolutes for any kind of finality? Chaos or otherwise, organized chaos. Final taps has not been played. The “living” have no end notes until final taps (and no religion here, so who knows…). There are no finalities, therefore no binary right or wrong answers, either/or has been dismantled into both/and plurality, and furthermore, neither right or wrong notes. Music is one of those things to have been open to “interpretation” [style if you want to call it that], but teachers say its either RIGHT or WRONG. What gives? Hermeneutics has engineered music as a phenomenological-wonderment. If a “singular” note, the low D can be dismantled, SPLIT atomistically whole, half, quarter, eighth infinitely split and shattered, how do you get down to the final right answer? and then give a grade, which sets a course perhaps totally different from what is desired or expected. Just a simple “A” will do everybody nicely and every other grade just “labels” the individual wrongfully (dismantled even if it tickles or hurts). Thus, the thread name be considered “The Phenomenological Pre-Reflection of Underlying Assumptions for the Plurality of Conceptual Notations Pub”. Endnote… gotta go do homework…
From our founder Dale Wisely (flounders? - 3Fish Productions):
Q: How about “PostStructural”? You call it “Chiff & Fipple: The PostStructural Tinwhistle Internet Experience”
A: Right
Q: What does that mean?
A: What does what mean?
Q: “PostStructural”.
A: Well, uh, you know what they say: If you have to ask, you don’t know. Hehehe.
Q: WHAT?
A: Well…“poststructural,” of course, means, uh, “after ‘structural’.” Or after the structure. Let’s move on.
Q: You don’t know do you?
A: No. I just thought it sounded kinda funny and pretentious. That’s what I’m about mostly.
In the D SCALE, those 8 notes are:
D . E . F# . G . A . B . C# .D
This basic and simplest of scales on the whistle we can call the 1st Major Key. Or you can call it the primary key if you want. Or you can call it “Binkie The Wonder Possum.” It really doesn’t matter.
The Chiff that can be named is not the enternal Chiff.
Basically, all the answers are inside you(next to the large intestine, I think).
Meditation under a glacier feed waterfall is recommend.
Or, just play yer whistle till yer fingers bleed.
on 1) I merely asked why, and if the name can be “interpreted” like musicians do… what’s in a name?
on 2) I think you missed my point entirely, I get the “theoretical” 8 notes, however, I’m positing my “interpretation” of the 8 note “theoretical” scale, while on the low D_trajecting_towards_the_E (and prior to the F#). Its a durational moment that D_INFINITESYMPHONY_E. There IS no F#
on 3) I can only take so much of that (gentley), times have changed, you just can’t use a stick…
Music is one of those things to have been open to “interpretation” [style if you want to call it that], but teachers say its either RIGHT or WRONG. What gives?
Here’s my comment: Only if the music is being judged, solicited or unsolicited is the music, in the judge’s opinion, right or wrong, or somewhere in between or elsewhere. If no one is judging the music, it just is.
I generally try to avoid this sort of thing but here goes anyway.
There is an infinite between D and E. Sounds plausible. There are an infinite amount of numbers between 1 and 2. It doesn’t mean you never get to 3. It just means you skip most of those pesky in-between numbers. If you want to know what that nice infinite range of notes sounds like, try playing a D and really slowly rolling your bottom finger off the hole. Voila! Multitudinous notes abound in that strange and mostly uncharted region. Or if you’re lazy like me you just take it off fast and skip most of them. As for making a symphony with them, I wouldn’t be too interested in that. A good symphony should cover a large segment of the frequencies that can be heard by the average human. If that range of frequencies is too small I don’t find it as enjoyable.
Oh and by the way, everything is relative. It’s easy to find stability when you only care about being stable relative to certain things. If you want to mention earth flinging around the sun you might as well mention the sun flinging around the galaxy and the galaxy flinging around the universe. We’re due for a collision eventually too. That’s bound to be exciting but humans probably won’t be around anymore by then. So even though we’re hurtling through the sky at ridiculous speeds, we’re also just standing still if you change your point of view.
I mostly ignored the question and addressed the ramble that came after it so here’s the very simple answer to why and how teachers can grade students. First how: with a red pen. It makes more of a psychological impression. Now Why: It’s their job. Seems simple enough to me.
I feel so boring and analytical. Must be all the physics. It makes things make sense.
