Some may notice that the dynamic concept of “physical object”, proposed in the cited paper with Dubochinski, although it emerged from the physics of nonlinearly-coupled oscillating systems, has close parallels to ideas of Wolfgang Köhler in his Gestalt Psychology. In our paper (see link on the page “Scientific Reflections”) we sketched our notion of physical object as follows:
“… an individual physical object must be conceived always as something inseparable from a specific ‘regime of functioning’, i.e. from a specific, active physical process by which the object maintains itself in a stable manner, interacting with and reacting to changes in its environment while retaining its essential characteristics.
A big and very basic question in music is: How can one generate an apparently unlimited world of musical ideas and musical drama, using just 12 tones and their octaves? Here we shouldn’t forget, of course, that the ideas and dramas are processes going on in the minds of the listeners, not in the notes per se. The stark contrast between an extremely limited system of tones, and a seemingly unlimited range of musical ideas, points to the function of tonal ambiguities as turning-points or singularities in the dynamic process of evoking ideas in the minds of the listeners. Here one example I have been looking at: