In the Ephemerodes factory

To be able to hear the instrumental behaviour of each musician in the orchestra. The musician, as a human being, acts by: behaving the need that everyone feels necessary to act in the context of his action. This is particularly noticeable in the game of Ephémèrôdes Cardent des Chrônes where the basic rule of the game is: “repeat a remarkable identity (one that captures the attention of the listener) that each musician varies rhythmically at each revolution (= at each repetition = at each stroke)”. If this rule (= challenge) is difficult to play, it is because we are conditioned to act and play the opposite: all music are repeated simple patterns to have the role of accompaniment (the essential, which is...). To repeat (the unrepeatable), by bringing the play closer to the similarity's exactitude, giving a fixed speed (a same tempo to dance or to sing) bringing the illusion of governing time, by repeating ourselves, this to give us the illusion of security = by living a constant lack of worry = free from (unforeseen) accident (which is a non-sense), and brings the question: why to accept to live in the fear?

	The Ephemerode music game, on the contrary, gives to vary, together in the orchestra, with accidents and coincidences. On the contrary, the Ephemerode music game gives to vary individually at each stroke (repeating the pitch loop rhythmically each time different), the sonic proposal (the identified theme-cell) which is perceived to be noticed, then to be varied. The result is: with rhythmically different loop, there is a different time signature at each repetition (necessarily differentiated). The notes in the loop (= noticed identity) change their positions each time they are replayed. This changes the proportions of their durations between them in the loop, at each stroke. This, changes the time signature of the bar at each replay of the loop. This is the basis of the Ephemerodes Card of Chrones music game. [The variation is made with the rhythm, the similarity is made with the pitch. The characterization is made by the timbre with the sonorities of our personal musical instrument]. Then, there is the orchestral consequence of these constantly changing cells: the general speed (tempo) of the Ephemerode music game. The tempo consequently varies constantly: it is never stable or, when listening to a game of Ephemerode music, it is not possible to "tap the foot" at a regular speed, a constant pulsation, but there is always in the orchestral music accelerations andor slowing down, several speeds (tempi) being  permanently unstable in the music. 

	To play only one cell at a time, it is a monodic game of a unique temporality of the present of the moment. The next step is to play a second elastic-cell-loop at the same time, then a third, etc., at the same time. Each loop represents a unique character (known by the performing musician-gamer): several loops in the play gives different characters interacting in the musician's story. A "story" is an ensemble (or one) characters represented by several loops (or a vocal range [soprano to bass], or a string, or every thing else marking a difference). The multicellular (= multi-looping changing constantly by their rhythm) articulation of the characters takes place both at the individual level of the musician and at the same time at the orchestral level of the ensemble.

	The Ephemerode's music game gives different kind of pitch loops possibilities: from 1 note to 128 (more? less?). The big loop of 128 pitch (and more or less) gives the possibility to travel smaller loops in the big loops. How to do that? Simple: suppose you repeat 5 pitch in your loop, and you want to stay with 5 pitch in your loop, so, to move forward andor backward your loop, in the big loop (of limited pitch), you get rid of your last pitch and take a new pitch of the big loop. It is the 'walk' or move process by accumulation and getting rid of the notes. The example of 5 notes is not fixed, the numbers of notes in the loop varied as you move in the big loop. Look at the first score written in 1984 where a 'Big Loop' is written on a Möbius ribbon. 


Here the page of the Internet published music game: 

http://centrebombe.org/livre/1984a.html  

Here the Ephemerode Card of Chrones music game score: 

http://centrebombe.org/livre/Ephemerodes.Cardes.des.Chrones.(score).pdf  

The 1984 Big Loop to be printed in the Möbius elastic strip 
are located page 5 and 6 [both side of the elastic ribbon 6 x 78 inches]. 


	Maxe - What it is The Big Loop in the Ephemerodes Card of Chrones music game? 

	Mathius - The Big Loop is an arrangement of all known pitch in scales. For example, in the context of acoustic pianos playing the music game: it is all the keys of its keyboard: 88. The 1984 Big Loop is shaped with 88 pitch, Knowing that a pitch represented by a key is not exclusive, i.e. any pitch can be played  by any key. In other word: for example the C4 key does not play always the C4 pitch from the equal scale dividing the octave in 12 equal intervals (at 261Hz). In the MIDI world, there are 128 possible pitch to play, and x16 (midi channels) = 2048 possible pitch. Also, you can layer many keyboards as your audio perception can handle, In the Shadow-Sky Nonoctave Multiscalar Fields, there are thousands scales, and millions modes: all together make billions of possible pitch. The Big Loop exists according to its context, The Big Loop exists because of many existing perceptible pitch. 


Then, there are the temporal variations of the rhythmically changing cells, to articulate them temporally with the following 10 temporalities modifiers: 


_|_ 	= the present moment (every when instantaneously)
	= the Ephemerode plays the moment without regret or hope, but with daring
	=> useless sign because this is the "default" arrangement of the Ephemerodes music game.

•_| 	= exclusive past: to live exclusively in memorised past events
	= believing the present is the past = temporal schizophrenia; to believe that one's own life is lost = depression
	= the Ephemerode plays only her his recalled/rememorized configurations of notes

|_• 	= exclusive future: exclusive life in the lack of present, the pain acts the Hope to dispose in the future our unsatisfactory desire
	= to play convinced that instant does not exist = passive waiting (to be fed) to play what is believed to be "expected"
	= plays the safe, certain and careful configurations of expected known notes, without any audacity (= lack of courage to play the unknown)

•_|_ 	= past in present: living exclusively in our memory with a constant frustrating result (it is not the loops you want to play)
	= the Ephemerode plays familiar undesired configurations of notes replayed

_|_• 	= future in present: living exclusively in our desire in a painful and frustrating present of lacks
	= the Ephemerode plays the configurations of notes (melodies/chords) that represent her/his best 'brave new world'

•__ 	= no present moment neither instant lived, the past is in the future, living exclusively with her/his regrets in hope
	= the Ephemerode plays with absence of will (melodies/chords) in the depression of regrettable future

__• 	= no present moment neither instant lived, the future is (in the) past, living exclusively with her/his hope already regretted
	= the Ephemerode plays with absence of will (melodies/chords) in the depression of hopeless past (an unsolvable past where hope is lost)

•__• 	= no present moment neither instant lived, the future is past and the past is future,
	= the Ephemerode plays with absence of will (melodies/chords) in the depression of: regretted hopes and hoped regrets

__ 	= absence of living the present, life without consciousness or, living elsewhere with another unidentifiable consciousness
	= the Ephemerode plays stray away, lost, without any desire to play, repeating to locate her/himself lost, similar to autism.

•_|||_• 	= there are several temporalities represented by this symbol such as:
		1. future in present which is past = the maintenance of lost or impossible desire
		2. past future but present = regretted desire, missed opportunity
		3. past present projected in the future = to hope the regret, living in the belief (of unreal facts), while waiting for the same past opportunity
		4. future present but past = regretted hope or living without any will neither motivation
		5. future past but present = in the instant reality, the cultivated regret with hope
		6. present past projected in the future = desired regret to be noticed (without being remarkable) 


In addition:

	REGRETS (= past), & HOPE (= future): they never manifest themselves exclusively,
	the borders are porous,
	it is added to these temporalized variants,
	the ability to FORGET and to IMAGINE.
	These 2 capacities are manifested in 4 possibilities (who multiply by 4, the 10 mentioned temporalities):

		0. PERFECT memory and prediction (it does not exist = zero state)
		1. INCOMPLETE memory and prediction --- - ----- - ----- - - regular or not
		2. DISFORMED memory and prediction / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / regular or not
		3. DISFORMED and INCOMPLETE memory and prediction / \ \ / \ / \\ // \ 


All the time all the musicians mix (dose sound's attributes): "in agreement between my own desire and the rest": to vary creates differences.
Variation is a process of adaptation (ability of understanding and doing).

	What does the Ephemerode vary?

	. The presence, the absence of pitch in a cell (= an organism)
	. The temporal positions of the fixed pitch in a moving cell changing each time its rhythm
	. The tempo, the speed, of the cell family
	. The presence, the absence of characters (represented by a pitch loop, changing because of its moving in the big loop)
	. The internal intensities of each cell
	. The metamorphoses of cellular and instrumental timbres
	. The metabolic transformation from one scale to another (in nonoctave world)
	. The sliding tuning fork
	. The slippery/slide transposition by "pitch bending"
	. The filtering (psychological and physical)
	. The shape of the spatial trajectory
	. The direction of the spatial trajectory
	. The speed of the space trajectory
	
The first effect (of the cause) of The Ephemerode Card of Chrones music game is: 

	UNHEARD EXISTS AND SOUNDS

In the moving global relay musical form (because produced by its content, by its individuals)
The Ephemerode musician finds always the unknown event to play/perform.
In its variations of coincidences in the conjunctions of autonomous coincidences existing by themselves. 



More?
The publication of the 1984 music game Les Ephémèrôdes Cardent des Chrônes is located here:
http://centrebombe.org/livre/1984a.html

Still more?
The Book of Ephemerodes is published by the Acquaviva editions 
(findable in some book stores on the Internet)