Distance (space) and time are reflexive concepts referring to change in location relative to a subject’s perception. When you ‘plot’ these changes, you get ‘graph-ical’ representations of them. Graphs. Which in the case of plotting the change in velocity / speed of ‘pulse’ of energy, in the form of kinetic energy in air molecules, or electrical energy in ‘electrons’, produces a ‘wave’. It ‘forms’ a ‘wave’. So we visually represent energy pulses as ‘wave forms’. But that is just an artefact of ‘rendering’ energy pulses with our visual representation system. There exist pulses of energy which are being ‘carried’ or ‘transmitted’ by different vectors. What our minds render as ‘light’ is carried on the universal vector known as ‘plasma’. What our minds render as ‘sound’ is carried on the vector we call ‘air’. There are no ‘particles’ nor are their any ‘waves’ as such. These are human concepts we use to ‘get our head around’ the phenomena our minds present to us as ‘impressions’ and ‘sensations’,which enter the mind via the 5 senses, each with its own ‘representation system’. These 5 senses sample a maximum of 40 snapshots of the millions of potential stimuli ‘out there’, from the tiny bandwidth of ‘out there’ we call ‘the electromagnetic spectrum’.
The rate at which energy pulses repeat is there ‘frequency’. How ‘frequent’ they occur. A pulse has a start, development, and finish, which when we plot it on a graph, is represented by the ‘period’ between one ‘peak’ or ‘0’ point vertically, and the next peak or ‘0’ point, vertically. The ‘distance’ between these, horizontally, is called the ‘wave length’, because it looks like a wave on the water. And because of the change in ‘time’, has a ‘length’. Though in reality there is no time. Only a NOW. And so really we would only have a change in verticality. In fact without memory, we would simply have a current vertical position. It is only through memory that we construct ‘movement’. Take away your memory, and there is no change at all. Simply the present state of things. And thus nothing to experience. No meaning. I explain all this in my TROONATNOOR publications.
The term ‘frequency’ refers to how often, or ‘frequent’, something happens. How often it repeats. A speaker cone moves forwards and backwards, propelled by electromagnetic force. The ‘frequency’ of this action is analogous to, is the analog of, the voltage supplied to the speaker. This voltage is the analog of the ‘frequency’ of the air pressure pulses that reached a microphone diaphragm, and were not cancelled out or dampened. These air pressure waves were produced by some pulsating energy source. such as a vibrating vocal fold or string. Where each completed ‘loop’ of the vocal fold, or string, produced one pulse of energy. With each pulse beginning from a rest state, reaching its maximum energy, then receding back to its default, rest, state. This producing an acceleration of air molecules from rest, to the maximum velocity limited by the maximum compression of air molecules possible, in the current atmospheric conditions, after which the energy is stored momentarily in the compressed air molecules, and then released, in the ‘expansion’ phase of the cycle, with the air molecules once more accelerating until reaching their maximum velocity consistent with the limits to which the air can be compressed.
So we have the original energy pulse converted into air pressure pulses, which push on a microphone diaphragm, and are then converted into electrical pulses with a voltage corresponding to the frequency at which the pulses hit the diaphragm, and an initial amperage corresponding to the force / power of each pulse. Basically how ‘hard’ it hit. Based on the quantity of air molecules, and their velocity / speed, respectively. So more air travelling faster generates a higher amperage. While the voltage is produced by the single factor, namely how often the pulses repeat, per second. Thus the frequency of initial energy pulse corresponds to the frequency of air pressure pulses which corresponds to the frequency of diaphragm deformations / impacts which corresponds to the voltage, which corresponds to the movement of the speaker cone, which then reproduces the original energy pulse, and thus air pressure pulses, which hit the ear drum, where they are converted into electrical impulses, and transmitted to the brain, where they are finally ‘rendered’ / coverted into ‘sound’.
A tree falling in the forest, with no being to hear it, produces sound pressure waves. But unless there is a listener, no ‘sound’ is produced.
How fast it completes one complete ‘forwards-backwards’ movement determines the ‘frequency’, which we perceive as / which is rendered by our minds as, ‘pitch’ or ‘frequency’. How far it travels in each ‘forward-backwards’ movement determines the ‘amplitude’, which we perceieve as loudness. A speaker cone can produce multiple frequencies at different loudnesses because as it is travelling in one direction, to complete one cycle of a low frequency, it also moves back and forwards, to complete many cycles of higher frequencies. And how far the cone moves for each of these determines how ‘loud’ they will ultimately sound to the hearer.
If you stand near a low frequency ‘woofer’ or ‘bass port’, you will literally feel the sound pressure pulses as they are produced, as the speaker cone pushes air masses outwards, in its forward travel. These pulses can be felt as ‘air pressure’, as something ‘solid’, with our sense of touch. They fall within the frequency bandwidth our nerves render as ‘solid’. They stimulate nerve endings to send electrical signals to the brain which are ‘rendered’ as ‘pressure’. In our ‘kinethestic’ representation system. That which produces the sensation and impression of ‘solid objects’ in our mind. So the loudspeaker cone is a good analogy or metaphor to use for our entire perception of reality.
For what we experience as ‘solidity’ is really a representation of very low frequency energy pulses. With a large amplitude. A large quantity of energy. Change the frequency of energy, how often it completes a ‘pulse’ or ‘cycle’, and you change the ‘quality’ that is perceived. In our analogy, the slow cycles of the bass cone produce ‘bass frequencies’ and ‘bass notes’, whereas the ‘fast cycles’ of the tweeter cone produce ‘high frequencies’ and ‘high pitches’. We literally ‘feel’ the lowest of these frequencies as air pressure pulses. With nerve receptors in our skin. If you simply reduce the frequency further, you end up in the purely kinesthetic representation system, and the ‘solid’ frequency bandwidths.
When we convert air pressure into electrical pressure, we get voltage and amp-eres, instead of frequency and amp-litude. People speak of voltage as pressure, but I feel it more helpful to think of it as velocity. Just as I find it very un-helpful to think of energy pulses as wave forms. But back to that in a moment. If you think of electricity as electrons flowing through a medium, then the force they produce will be a product of their velocity/speed and quantity / mass. Air pressure, like the pressure of ‘solid’ objects ‘touching’ the skin, is felt as ‘solid’. If you grab bare live wires with damp hands, you will ‘feel’ the ‘pulses’ of the electrons as they flow through your body, to the earth. Depending on the quantity of electrons (Amperes) and how fast they are travelling (Voltage), you will live to remember the experience, or not.
You can send large amounts of electrons from A to B in two ways. A large number of small packages sent in quick succession (High Voltage) or a small number of large packages (Low Voltage), just to clarify why I speak of Voltage as velocity / speed, rather than ‘pressure’, as is the convention. Because ‘pressure’ is really the product. The ‘force’. Like mass x velocity determines the force of impact of an ‘object’. The mass in this case being the number of electrons, each with a fixed mass. And the speed they are transported at being the velocity, or ‘Voltage’. To ensure 100 units of electrons arrive at their destination at time T, you can send them all at once, taking time T to travel the distance. Or send 100 packets, one after the other, each taking 1/100 T to travel the distance. The advantage being you can send the same quanity of electrons over hte same distance in the same time, using thinner, thus cheaper, copper wires.
Our 5 senses are each attuned to different, relatively narrow, bandwidths of the electromagnetic spectrum. Which itself represents only a tiny fraction of the entire ‘energy’ spectrum.
Consider one substance which is pulsing at a very slow rate. But while completing each cycle of each pulse, it is also pulsing at much faster rates. Like the speaker cone which, as it is pulsing 60 times per second, to produce 60 air pressure pulses per second, ( which hit our ear-drums, and are converted into voltages and amperes, which travel to the brain, which converts/renders these as ‘bass tones’ i.e very low pitches i.e very low ‘notes’, which are represented to our mind via our ‘audio’ representation system) is also pulsing at much faster rates.
To emulate a 60Hz bass tone, push your hand out and pull it back, 60 times a second. Now if, during the ‘travel’ of your hand, you moved your hands back and forth a little, 120 times a second, you would be emulating a speaker cone reproducing a 60Hz tone, along with a 120Hz tone. If while doing this you also moved your hand back and forwards 12,000 times in the time it took to complete the 120 and 60 movements, you’d be emulating a speaker cone producing these 3 frequencies. The movements would, for the most part, be much too fast for an eye, sampling a mere 24 times per second, to actually ‘see’. Instead we ‘see’ a ‘blur’ of the speaker cone, and perceive only the slower ‘pulses’ of the speaker cone.
In fact it is these ‘slower’ pulses which are the ‘carriers’ of the faster pulses.
How FAR the cone travels is determined by the amperes supplied (or is it applied?) to the speaker. Which themwelves correspond to the amplitude of the original source of the energy pulse, which was converted into air pressure pulses, then diaphragm displacements, then electrical impulses with a certain amperage. This amperage can be magnified and ‘amp-lified’, so that the final output of the speaker is ‘louder’ than the original source would have been, for any healthy listener standing close to it when it was originally produced.
The amount of air the cone pushes is dependent on how far the cone travels, in the time it takes for it to complete one cycle. Loudness is dependent on the quanity of air pushed. So the further the cone travels, the more air it will push.
Remembering that frequency is totally un-related to how FAR the cone moves. Rather it is dependent on how FAST the cone completes a single forwards-backwards movement, thus pushing that air out, in pulses. And thus how OFTEN it completes a full cycle, each second.
Just forget the word ‘waves’. Forget the concept of ‘wave forms’. They are artefacts of how we represent energy pulses in our visual representation system. Talking about reality as ‘waveform energy’ is obfuscating. David Icke may have read some of my TROONATNOOR publications, and even adopted some of the language and concepts I use, but he would do well to study my ‘Audio Engineering’ guide. Anyone who thinks about, and thus talks about, ‘wave form energy’ is unecessarily obfuscating and confusing things. They are ‘mixing metaphors’. They are ‘clouding the image’. A wave form is the visual representation you arrive at when you plot velocity over time, of either air molecules or electrons.
The only time we ‘see’ energy in this form is when we drop a stone into a still body of water, and see the ‘waves’ on the surface that are produced as the energy of the stones fall are transmitted through / transferred to, water molecules further and further away from the stones ‘impact’ point. In the air, sound pressure pulses travels outwards in 3 dimensions, like expanding bubbles. See my ‘Sound Foundations Audio Engineering Reference Guide’ for details.
So please, think of energy in terms of ‘pulses’. Schopenhauer and others say there is no word for ‘creation’ or ‘god’ in Chinese. I wonder if they use the concept of ‘wave form’ as we do? For my TROONATNOOR work has lead me to avoid the term ‘creation’ as much as possible. And to define ‘god’ as an IDEA, rather than a ‘thing’. And to avoid the term ‘waveform’ unless I am referring to editing audio in a Digital Audio Workstation such as Reaper. Outside that context, it is not only unhelpful, but obfuscating and confusing. Just as using the term ‘pressure’ to refer to voltage, when in all other contexts it refers to FORCE, which in the case of electricity, is Voltage TIMES Amperes. Anyone who up to now didn’t understand why I replaced ‘pressure’ in the context of electricity with ‘speed’, might now ‘grok’.
It took me a while to ‘grok’ how headphones and even speaker cones could reproduce frequencies with 2.4 Meter wavelengths, when clearly they were very restricted in their movements to a few cms at best, in in the case of ‘in-ear’ ‘ear-bud’ headphones, less than a MILLI-meter. You grok yet how confusing it can be to speak about waveforms and their wave lengths? Frequency / pitch is only accidentally associated with ‘travel’ or ‘expedition’ of a speaker cone.
The false impression that bass frequencies are associated with greater speaker cone travel occur as low frequencies require more force and thus energy to push the air far enough, to compress it enough. And to supply this force, the speaker cone has to travel further, and thus faster, in the time available, and determined by the frequency. So if a speaker cone must repeat a forwards-backwards move 60 times a second, with enough energy to push a large mass of air, it will have to travel a relatively long distance, in a relatively short period of time. So the speaker cone movement will be both relatively slow enough for our eye to render (though with blurring as our sample rate of 24 samples per second is a fraction of the 60 pulses per second of a 60Hz bass note), with low frequencies. While the forwards-backwards movements of the speaker cone, DURING this travel, will occur much too fast for us to ‘render’ and thus ‘perceive’. All we ‘see’ is a ‘blurry’ cone moving in time with the bass notes. We ‘miss’ the little ‘excursions’ it takes DURING this larger excursion / travel.
It is only ‘accidental’ that early bass speakers were large, because the materials and design required to make them strong enough to force so much air out in pulses, made them that way. High end, expensive, speakers, can produce deep bass tones from a very small cone. But I digress.
The confusion I had was due to thinking about wavelengtths as if THEY were the dog, rather than the tail. The ’cause’, rather than the ‘effect’. A visual representation of energy pulses with reference to time. Oops, does chinese have a word for ’cause’? Beacause that is another word I avoid using. Like ‘god’, it is an idea, not a thing. Not a force. Not something objective. Not an object. Not something that exists outside of our imagination. Refer to my TROONATNOOR publications for details about both these ‘non-things’ that are continually referred to in the popular langauge culture, as if they existed in ‘reality’! Which applies as much to ‘time’. For all that exists is CHANGE. Time is an artefact of our minds produced by memory and imagination / anticipation / projection.
Air has mass. To push enough of it so that it has enough momentum to sustain itself, and repeat itself, over consecutive ‘pulses’, is easy when the pulses are frequent. Say 10,000 times a second. They keep repeating. Like throwing one stone after another into a still pond. But what if you only throw a few stones into the pond? What is to keep the pulse repeating? These will need to be BIGGER stones, to achieve that feat. And they will thus displace more water / air, with each ‘impact’ ‘pulse’. The ‘waves’ will be spaced wider apart. So the distance between each ‘peak’ will be greater. Thus the ‘wave length’ will be greater. Larger. Longer. This is the best way I can find so far to ‘grok’ the ‘accidental’ correlation between speaker cone travel and low frequency notes / tones. And thus the ‘accidental’ relationship between low FREQUENCY and long wave-LENGTH. But just start graphing the velocity of air after a burst / pulse of energy, over time, until the air has reached its maximum possible compression, and you will get a curve that just happens to LOOK like the waves your stone, dropped in a still body of water, produces. Though this is just an artefact of how we GRAPH the airs velocity over time. NOT a reflection of how energy pulses actually travel.
The ‘wave-particle’ duality we hear so much about is, I believe, an artefact of such obfuscation. The universe is energy-matter-awareness. A single unit. Like a single speaker cone. A whole. The whole vibrates at a basic, fundamental, primal, ‘beat’. The lowest frequency. This becomes the ‘carrier’ for all the shorter ‘excursions’ that occur within this entity. This unity. And in this case the speaker cone is both the producer of the ‘music’, and the consumer of the music. The hearer. Only a much wider range of frequencies are here present. Divided into a multitude of bandwidths. And each frequency is a subject. A perceiver. Which defines all the other frequencies as ‘objects’. Or ‘lesser subjects’. Which it interacts with as ‘other’. At best as other lesser subjects. At worst as mere ‘objects’.
Any individual subject perceives the other frequencies as ‘sounds’ and ‘colors’ and ‘textures’ and ‘smells’ and ‘tastes’ and ‘temperatures’ and ‘weights’ and ‘solids’ and ‘liquids’ and ‘gasses’.
Can we go any further with this metaphor / analogy? Or is it really an actual description? I would say it is something in between. As far as the mind can go. As much lucidity as a human mind can handle, without breaking.
Schopenhauer noted how light manages to travel in a perfectly straight line, even through the turbulence of a hurricane or typhoon. This is because its wavelength is so short. It’s periodicity so small. If you want to use the metaphor/analogy of another metaphor, that of atoms, you can imagine the smaller pulses easily passing between the larger pulses of the lower frequency phenomena such as air molecules, so that they are in no way affected by those massively larger air molecules, simply passing by them, like a comet passing by a planet millions of miles distant from it.
In my metaphor / analogy, it relates to the higher frequencies which are unaffected by the lower frequency ‘travel’ / ‘expedition’ of the speaker cone. For they all form a unity. There is no conflict. The higher frequency oscillations complete their cycles WHILE and DURING the lower frequency cycles. So multiple frequencies can inhabit the same ‘space’ and ‘time’. Without harming one another. Without ever coming into conflict.
So, that is my analogy. A way to ‘grok’ how the entirety of everything can be one single unit, originally one single subject, one monad, which chooses to internally divide into an infinite number of divisions each of which is a subject, but defined by each other subject, reflexively, as ‘other’, and often even as objects. See my TROONATNOOR publications for further details.
Now having provided a way to conceptualise how the one can become the many, and go from the ‘thesis’ of one, to the antithesis of ‘many’, we simply need to re-harmonise the intrinsic conflict endemic to this situation, and achieve the synthesis. Which I do in other videos / posts on this channel / WordPress page.
