山中志异

第五章 信息的导航

"... knowledge involves two components: information and its mental organization."

"Building concepts then amounts to conceiving this data, organizing the access to information and doing this by use of well-defined access modes... pure information is substantial, but it is uncontrollable without a conceptual form... This is precisely why so-called digital information has nothing to do with knowledge... and why therefore the digital paradigm is completely irrelevant to the yoga of electronic age: Digital substance, reduced to the BIT = {0, 1}... but it cannot per se be responsible for any kind of knowledge... The digital age is not centered around "Bits and Bytes" but around their accessibility and handling, in short: data navigation."

"Definition 2 EncycloSpace is the topological corpus of global human knowledge which evolves dynamically in a virtual space-time, is coupled to human knowledge production in an interactive and ontological way, and allows of unrestricted navigation according to universal orientation within a hypermedially represented concept space."

第四章 音乐研究中的模型与试验

"... the paradigm of experimental humanities. Such a perspective is basic to all computational, resp. effective, methods in musicology."

"The case of Galileo Galilei is important for musicology since it is intimately related to a common problem: definition of musical tempo and physical velocity... for historical reasons, he could not yet refer to calculus and define velocity as derivative ds/dt... Galileo’s approach was essentially built upon observation and measurement, it did not rely on abstract speculative reflections."

"So what is a musicological experiment? It must clearly include both, thinking and playing, reflection and action... These requirements are necessary, but not sufficient."

第三章 音乐本体论

"It is a common argument of traditional musicologists against cognitive and computational methods... that the very depth and transcendence of music are beyond any analytical and quantitative reasonment...We do not condivide such a credo... cognitive and computational methods are neither restricted to quantification, nor to simple analysis. Rather modern mathematics and logic is an issue of conceptual explicitness..."

" The difficult localization of musical existence is due to three factors: (1) the interweaved usage... in the classical ontological discourse; (2) the tendency of classical musicologists to override topographical complexity...; (3) the genuinely related activities of thinking and playing..."

"... mathematical depth deals with simple significants that are built from complex, viz ramified and recursive signification to connotation and/or metasystem levels. What, then, is the difference to depth in musicology? Strictly speaking, it is pretended encapsulation without the license to access contents."

"Our task cannot be attained without a considerable amount of technical machinery—nihil ex nihilo."

第二章 音乐的样貌

音乐的数学是个有趣的话题, 但常见的讨论除了傅里叶分析以外似乎也很少有人能说出个一二三四. Mazzola 的 The topos of music 看起来是本有意思的大部头, 准备在这里记点读书笔记.

第一章 音乐是什么

"Definition 1 (First provisional version) Music is a system of signs composed of complex forms which may be represented by physical sounds, and which in this way mediate between mental and psychic contents."

"To describe these forms, mathematics is the adequate language."