LINES OF LIGHT AND FRAUNHOFER LINES AS TEMPORAL DETERMINANTS

Name Wavelengths * Colours Elements With H = 0 Differences *

A 7594 Red O2 {Oxygen} 3626 A C = 1031
C 6563 Red-Orange H {Hydrogen} 2595 C D = 670
D 5893 Yellow Na {Sodium} 1925 D E = 623
E 5270 Green Fe {Iron} 1302 E F = 409
F 4861 Blue H {Hydrogen} 893 F G = 553
G 4308 Violet Fe & Ca {Iron & Calcium} 340 G H = 340
H 3968 Ultraviolet Ca {Calcium} 0

* The Fraunhofer lines wavelengths are measured in Angstrom units (): 1 = 1010 metres. NB: because the
data in the differences column will eventually be reduced to proportions (thence to relative durations), the
actual unit of measurement used here becomes irrelevant.
Astonishingly, those three aeonial constants 2, 3, and = ((5 1) 2) are also latent herein, linking (albeit
approximately) the wavelength of Fraunhofer line E to that of Fraunhofer line G i.e. 5270 2 3
4302.94 4308 as well as mediating the two wavelength-intervals between Fraunhofer lines F, G and H
i.e. 553 341.77 340 .

The Fraunhofer lines lie within these colours of the rainbow.

Each Fraunhofer line correlates with a spectral line (or narrow band) belonging to the indicated element.
The atomic-spectral homologies in this column have been corroborated also by a reliable Internet website,
Harmsworth (2001).

H G F E D C A
| | | | | | |
340 553 409 623 670 1031

~1~
The total time-span d = 485". Now, in order to calculate this compositions first six sectional lengths (which are
labelled S1 to S6 below), we let L = d 3626 0.1337562052".

Section * Fraunhofer Wavelengths Time-Spans Derivation (from the

Lines (in ) (in seconds) wavelength differences)
6 A to C 7594 to 6563 S6 137.903" L 1031
5 C to D 6563 to 5893 S5 89.617" L 670
4 D to E 5893 to 5270 S4 83.330" L 623
3 E to F 5270 to 4861 S3 54.706" L 409
2 F to G 4861 to 4308 S2 73.967" L 553
1 G to H 4308 to 3968 S1 45.477" L 340
16 H to A 3968 to 7594 d = 485.000" L 3626

* NB: these section-numbers are purely conceptual, and shall be subject to systematic permutation by a cyclic
group.

Section Section Duration Instrumentation Rainbow Colour-Band

(actual) (conceptual) (in seconds)
Imp. 1 6 S6 137.903" Tutti Red to Red-Orange
Imp. 2 4 S4 83.330" Prepared alto recorder solo Yellow to Green
(with interjections)
Imp. 3 2 S2 73.967" Tubular bells, Yamaha DX7s Blue to Violet
Imp. 4 3 S3 54.706" Tutti (with soprano recorder) Green to Blue
Imp. 5 5 S5 89.617" Solo for Yamaha DX7s Red-Orange to Yellow
Imp. 6 1 S1 45.477" Tenor recorder, percussion Violet to Ultraviolet
Imp. 7 7 S7 74.542" Tutti (tubular bells just once) {additional section}

Lines of Light enjoys a two-tiered proportional self-similarity; its chronomorphology is, therefore,
holographic. Those proportions which I engaged in transecting the whole 485 seconds were exercised again within
each of the first six improvisations: these macrostructural proportions are thus diffused throughout Lines of
Lights mesoform. Recall that the first 485 seconds of Lines of Light is fractionated by the ratios
340 : 553 : 409 : 623 : 670 : 1031 into S1 + S2 + ... + S5 + S6. Now every one of Improvisations 1 through to 6 has been
divided by these same ratios; but another ratio, which corresponds to the time-span of Improvisation 7 (i.e. S7

74.542"), was used in this subpartitioning process as well. How has this been accomplished? We first define D = d +
S7 = S1 + S2 + ... + S6 + S7 559.542" (this being the total duration of Lines of Light). The length of the mth
subdivision from Sk where 1 k 6 and 1 m 7 will therefore be:

Sk,m = Sm Sk D.

The table below demonstrates all of the various durational possibilities; it shows the time-span for each
potential subsection within every improvisation except for Improvisation 7 (which is simply bifurcated):

~2~
 (Sub)Sections * Section 1 Section 2 Section 3 Section 4 Section 5 Section 6
(conceptual)
Subsection 1 S1,1 3.696" S2,1 6.012" S3,1 4.446" S4,1 6.773" S5,1 7.285" S6,1 11.208"
Subsection 2 S1,2 6.012" S2,2 9.778" S3,2 7.232" S4,2 11.016" S5,2 11.847" S6,2 18.230"
Subsection 3 S1,3 4.446" S2,3 7.232" S3,3 5.349" S4,3 8.147" S5,3 8.762" S6,3 13.483"
Subsection 4 S1,4 6.773" S2,4 11.016" S3,4 8.147" S4,4 12.410" S5,4 13.346" S6,4 20.537"
Subsection 5 S1,5 7.284" S2,5 11.847" S3,5 8.762" S4,5 13.346" S5,5 14.353" S6,5 22.087"
Subsection 6 S1,6 11.208" S2,6 18.230" S3,6 13.483" S4,6 20.537" S5,6 22.087" S6,6 33.987"
Subsection 7 S1,7 6.058" S2,7 9.854" S3,7 7.288" S4,7 11.101" S5,7 11.939" S6,7 18.371"
Totals S1 45.477" S2 73.969" S3 54.707" S4 83.330" S5 89.618" S6 137.903"

* Observe the elegant multiplicative symmetry here, which is intrinsic to our equation for Sk,m: Sa,b = Sb,a for all a
and b. (This property is due to the commutativity of the real numbers; they form a field with respect to the
operations + and .)
Proportional self-similarity will always generate such symmetries within every architectonic stratum it affects
(apart from a pieces macrostructure): the parity of certain segments from the time domain, thanks to the
symmetry of multiplication, definitely causes a proportionally self-similar compositions maze of relationality to
grow, and therefore further elevates its structural unity.

The small discrepancies for S2, S3, S5, (and S5,1) here, as compared with their data in previous tables, occur
because my computations were always rounded-off at the third decimal place.

Imp. 1 Imp. 2 Imp. 3 Imp. 4 Imp. 5 Imp. 6

1: S6 S4 S2 S3 S5 S1

Recorder S6,6 S4,1 tacet S3,1 tacet S1,6

S6,2 S4,4 S3,4 S1,2
S6,3 S4,2 S3,2 S1,3
S6,4 S4,3 S3,3 S1,4
S6,5 S4,5 S3,5 S1,5
S6,1 S4,6 S3,6 S1,1
S6,7 S4,7 S3,7 S1,7
= 3 = 4 = 4 = 3

Yamaha DX7s S6,1 interjections S2,6 S3,1 S5,6 tacet

S6,4 S2,3 S3,4 S5,4
S6,2 S2,4 S3,2 S5,2
S6,3 S2,2 S3,3 S5,3
S6,5 S2,5 S3,5 S5,5
S6,6 S2,1 S3,6 S5,1
S6,7 S2,7 S3,7 S5,7
= 4 = 5 = 4 = 1

Percussion S6,6 interjections S2,6 S3,1 tacet S1,6

S6,3 S2,3 S3,4 S1,2
S6,4 S2,4 S3,2 S1,3
S6,2 S2,2 S3,3 S1,4
S6,5 S2,5 S3,5 S1,5
S6,1 S2,1 S3,6 S1,1
S6,7 S2,7 S3,7 S1,7
= 5 = 5 = 4 = 3

~3~