Arc

Arc#

From the point of view of form, the type of all the arts is the art of the musician - Oscar Wilde

Missingness of one or all of the principle components of data, code, server, models, weights, and profiles is what is at stake (but perhaps migration represents redefining home?):

  • \(f(t)\) I

  • \(S(t)\) ii-V-I

  • \(h(t)\) iii, IV, vi, vii, alterations

    • Δ7

    • m or min

    • ° or dim

    • ø or m7♭5, -5

    • + or aug, ♯5 or +5

    • sus

    • ♭9, ♯9, ♯11, ♭13

  • \((X'X)^T \cdot X'Y\) tension & release (e.g. Aiim7/E (GΔ) - iim7♭5/E Em)

  • \(\beta\) m7♭5 > 7♯9 > 7♭9 > °7 > 7, etc

  • \(SV'\) BWV 846 Prelude in C Major, Op 28 Prelude No. 4

While Tyler Perry’s work captures the collective unconscious via tension (bad marriage) & release (church music), the characters he creates don’t have individually compelling arcs that subsume many of the parameters of life

This is equivalent to their \(SV'\) being a vector of mostly \(zeros\) and the barriers, challenges, diversions, sirens, misfortunes, obstacles, courses, “chains” within which Tyler Perry is supposed to “dance” aren’t rich, leaving a basic ii-V-I redemption arch with perhaps one or two straightforward insersions of, say, iii and IV.

      1. f(t)
            \
 2. S(t) -> 4. y:h'(t)=0;t(X'X)X'Y -> 5. b -> 6. SV'
            /
            3. h(t)

ii: Departure 1, 2, 3#

  • Sensory acuity: vision, hearing, smell, balance, glucose

  • Memory & cognitive: integrity, decline, tests

  • Physical activty: sarcopenia, brisk, dynamometer

V: Struggle 4#

  • Frailty: loneliness, isolation, usefulness

I: Return 5, 6#

  • Independence: ADLs, IADL

  • Hard-outcomes: shuffling, reflexes, falls, hospitalization, organ-failure, death

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