Let's Set the Record Straight:
The phongraph and stylus as organizing tools for themes concerning Lost.
Staying with the Skipping Record Metaphor:
Early records were on wax. And then here comes Mr. Candle (wax)_ . . . ok not falling for it? Me neither but check out these fun and creative approaches regarding Lost and the time-space travel ideas.
I guess the best way to enter this idea is a brief summary of how a record and stylus work.
Are you sitting comfortably...
A turntable consists of three main parts: the turntable, tone-arm and stylus.
When a record plays the aim is to take out of the groove exactly the intelligence that was pressed into them. The wiggles in the groove are meaningless in themselves. They have to induce exactly the right physical motion in a stylus before they make sense --- which means that they must move under the stylus at the right speed and that the stylus itself must track the groove accurately, wigwagging as the wiggles demand. A turntable spins the grooves; a tone arm holds the pickup and stylus in place.
A turntable does not become a record player until you add a tone arm. Like the custom turntable, the separate tone arm solves a multitude of problems. The cutting stylus rides across the record on a bar from circumference to spindle, following a true radial path always at right angles to the line of motion of the groove. The playback stylus is at the end of tone arm, which pivots, making a curved rather than a straight track across the record. In a really bad tone arm, the playback stylus will sometimes be off as much as 10 or 15 degrees. The message of the wiggles is distorted, and the record wears unevenly and more quickly, as does the stylus itself. This is known as "tracking error."
The vertical pressure of the playback stylus on the record will be a key factor in both stylus and record wear, and the various tone arms employ various ways to get the right "tracking weight." Some use springs at the rear end of the arm. In others the non-business end will extend some distance beyond the pivot, counterbalancing the weight of the rest of the arm and the pickup. This means bigger installation space.
as if that wasn't boring enough . . .
The stylus is probably the most important component of the process
Skip To: Theory
The Record is Time, or life-time on this planet. At least since the the "island" took its place here amoung the universe. Of course anything that changes here on this planet will effect the whole universe sooner or latter. Ask someone who lived through The Day the Earth Stood Still.
The Needle or stylus is the "Island" - whatever that is.
The tone-arm is the inventions we (Dharma) as man have imposed to hold the stylus (Island) in play.
All information, the Record/Time is told or expressed thru the Stylus. Translated as it were.
The Record or life-song is really long ok so in the end we never would live to see its end or final refrain so to speak.
A needle traveling along a record will catch lint, dust even scrap up small particles of "vinyl" in its ride along the grooves of information but the song remains the same throughout - thats the destiny part of it. Even if played again it is still the same song with small and fractal changes
that lint, dust particles are all of the things like the people and the objects that have accumalated on the island
in the end those objects effect the sound output as well become part of the information translated out - ever heard a scratchy record. We often think nostalgic when we hear a record that has been played a few times and it rings of history
as the needle moves along the grooves it transforms and degrades the terrain so to speak so if the song is ever played again the sound of that record is altered in the minutiest of ways - ever so slightly changed in the micro sense
so the record is destiny and Ben set the tone-arm to lift and land at other points on the life song - parts that have been played before (the song remains the same) but are subject to degradation and transformation from already being played as well as taking with it some lint and debris from whence it came
when the people find their constant they remember the song and they know the lines and grooves
ever heard a song but forgot the lines and tried to sing along and you were just one or two beats behind the words as if you would be prompted by only the consonant - it would often feel like you were remembering the song
after awhile your memory would kick in and the song is there again - back in the head
As I write this I think of the sender / receiver theories, or "if a tree falls in the woods, does it make a sound" – all the philosophical questions arise
Is the island, this metaphorical stylus the epicenter from which all our time and experiences are expressed. Without the needle in the grooves of us, riding and translating, would there be no us? Would we make no sound, would we not be able to make our kind of music
Setting the tone arm back on track and getting the stylus weighted in the correct grooves must happen so the song can play out
And start all over
Again.
Theory by WNGYPSY
The phongraph and stylus as organizing tools for themes concerning Lost.
Staying with the Skipping Record Metaphor:
Early records were on wax. And then here comes Mr. Candle (wax)_ . . . ok not falling for it? Me neither but check out these fun and creative approaches regarding Lost and the time-space travel ideas.
I guess the best way to enter this idea is a brief summary of how a record and stylus work.
Are you sitting comfortably...
A turntable consists of three main parts: the turntable, tone-arm and stylus.
When a record plays the aim is to take out of the groove exactly the intelligence that was pressed into them. The wiggles in the groove are meaningless in themselves. They have to induce exactly the right physical motion in a stylus before they make sense --- which means that they must move under the stylus at the right speed and that the stylus itself must track the groove accurately, wigwagging as the wiggles demand. A turntable spins the grooves; a tone arm holds the pickup and stylus in place.
A turntable does not become a record player until you add a tone arm. Like the custom turntable, the separate tone arm solves a multitude of problems. The cutting stylus rides across the record on a bar from circumference to spindle, following a true radial path always at right angles to the line of motion of the groove. The playback stylus is at the end of tone arm, which pivots, making a curved rather than a straight track across the record. In a really bad tone arm, the playback stylus will sometimes be off as much as 10 or 15 degrees. The message of the wiggles is distorted, and the record wears unevenly and more quickly, as does the stylus itself. This is known as "tracking error."
The vertical pressure of the playback stylus on the record will be a key factor in both stylus and record wear, and the various tone arms employ various ways to get the right "tracking weight." Some use springs at the rear end of the arm. In others the non-business end will extend some distance beyond the pivot, counterbalancing the weight of the rest of the arm and the pickup. This means bigger installation space.
as if that wasn't boring enough . . .
The stylus is probably the most important component of the process
Skip To: Theory
The Record is Time, or life-time on this planet. At least since the the "island" took its place here amoung the universe. Of course anything that changes here on this planet will effect the whole universe sooner or latter. Ask someone who lived through The Day the Earth Stood Still.
The Needle or stylus is the "Island" - whatever that is.
The tone-arm is the inventions we (Dharma) as man have imposed to hold the stylus (Island) in play.
All information, the Record/Time is told or expressed thru the Stylus. Translated as it were.
The Record or life-song is really long ok so in the end we never would live to see its end or final refrain so to speak.
A needle traveling along a record will catch lint, dust even scrap up small particles of "vinyl" in its ride along the grooves of information but the song remains the same throughout - thats the destiny part of it. Even if played again it is still the same song with small and fractal changes
that lint, dust particles are all of the things like the people and the objects that have accumalated on the island
in the end those objects effect the sound output as well become part of the information translated out - ever heard a scratchy record. We often think nostalgic when we hear a record that has been played a few times and it rings of history
as the needle moves along the grooves it transforms and degrades the terrain so to speak so if the song is ever played again the sound of that record is altered in the minutiest of ways - ever so slightly changed in the micro sense
so the record is destiny and Ben set the tone-arm to lift and land at other points on the life song - parts that have been played before (the song remains the same) but are subject to degradation and transformation from already being played as well as taking with it some lint and debris from whence it came
when the people find their constant they remember the song and they know the lines and grooves
ever heard a song but forgot the lines and tried to sing along and you were just one or two beats behind the words as if you would be prompted by only the consonant - it would often feel like you were remembering the song
after awhile your memory would kick in and the song is there again - back in the head
As I write this I think of the sender / receiver theories, or "if a tree falls in the woods, does it make a sound" – all the philosophical questions arise
Is the island, this metaphorical stylus the epicenter from which all our time and experiences are expressed. Without the needle in the grooves of us, riding and translating, would there be no us? Would we make no sound, would we not be able to make our kind of music
Setting the tone arm back on track and getting the stylus weighted in the correct grooves must happen so the song can play out
And start all over
Again.
Theory by WNGYPSY
