Multisense Realism

In an effort to provide a more straightforward view of pansensitivity and eigenmorphism, the chart above organizes all phenomena in the cosmos by scale of publicly extended body length and frequency range of privately experienced times. Going left to right (Metaphorically, Occident to Orient), the first and second column denote the public, physical scopes (perceptual inertial frames) according to cardinality and size.  The bottom left frames (Ω) correspond to the outermost types of physical phenomena, i.e. absolutely gigantic or absolutely infinitessimal. This reflects the aesthetic intuition by which the atom comes out having more in common morphologically and dynamically with a solar system than a tree or coral reef, despite being at opposite ends of the scale of our awareness. The Ω range of frames is the envelope of physicality, where physical and mathematical ‘laws’ meet the most universally public perceptions.

Our awareness is extended technologically, which broadens our view of the public universe, however, since the awareness being extended is primarily visual and somatic (‘tangible’-kinesthetic rather than tactile), the telescoping of our sensory awareness is also narrowing our depth of field within the private (phenomenological) side of physics. My conjecture is that because of the nature of perceptual relativity, the more we focus on the the outer contexts, not only do we not see the private experience in the universe on these distant scales, but also our entire worldview will, by default, adjust to recontextualize the local experiences of the self. The fallacy of the instrument (if you have only a hammer, everything looks like a nail) might arise through this kind of empathetic feedback loop. This is likely to extend into so-called ‘supernatural’ phenomenon, which explains the increases in magnitude, frequency, and connectedness of coincidence experienced by subjects through altered states of consciousness.  The higher up on the right hand column, the more large patterns of synchronicity, with deeper resonance (A1) are available for direct personal experience (A).

By contrast, the lower down on the Oriental, right hand scale we go, the more the needle of synchronicity tips toward mere statistical coincidence and the more top-down intuition, imagination, and eidetic narrative are collapsed into the stepped logic of bottom-up causality. The numbering schema is confusing, but intentional. The use of A in the middle row on the right side denotes that sense is always anchored centripetally. Perceptual capacity radiates as a range, often a literal circular, conic, or spherical perimeter, of awareness, but also sensitivity radiates figuratively as nested channels or layered modalities of sense.

The use of A1 and Ax above and below A respectively, implies the hierarchical pull from the superlative top, down to the personal, and the plummet from the personal middle down to the bottom. Ax would be the opposite of A1; insignificant, low status, shame and indignity. Looking at the Left side of the chart, the numbering scheme is even more confusing, but it is to emphasize the multiple levels of opposition that characterize the public and private aspects of physics-sense. The A1 range is the most universal private experience, (the ultimate being experience itself), which is meta-phorical. Experiences are associated to each other through metaphor, with the most tightly isomorphic metaphor being imitation or repetition. The higher up on the A column we go, the more latitude there is in recognizing common associations. Pareidolia and Apophenia are examples of having the aperture disproportionately dilated to the super-private, which becomes unsupportable within human society (delusions of grandeur, ideas of reference, mania, etc.)

Back to the Omega column on the left, the Ω1 is a different kind of magnificence than the private rapture of the Absolute. The public side is not centripetally oriented, but linear and circular. There is no radiant center, only jumps and slides. The Alpha/Aleph side in the East fills the gaps, it infers and elides, it puts two and two together. The Ω1 is mutation and fluke. Unintentional singularity. Its uniqueness is simply an inevitable accumulation of imperfectly repeating behaviors, so that the wonder of biology through evolution can be examined correctly in Darwinian terms. These are terms of the exteriors, however. Regardless of how complex and convoluted the patterns, they are patterns of insensitivity rather than awareness, automaticity rather than authenticity. This is individuality from the outside in – stochastic, social, generational rather than individual.

The cells of the bottom row have as much in common as the cells of the top row are polar opposites, but they are also skewed (this is what the arrows in the center are supposed to mean). This is what I call eigenmorphism. A to Ω1 has a half-black, half-white arrow, showing the relation between the human mind and its homid body. This is a maximal polarization, or so it seems to us. The black arrow from the Microscopic Ωx to the Sub-private Ax have in common the x, connoting the strong relation between mechanical appearances on the molecular level and the recursiveness of awareness in its least signifying, quantitative form. This is contrary to the idea that vibrations or energy are what we are, rather vibrate is what the various parts of our sub-private experience do – jiggling or wagging from position to disposition, from incident to co-incident.

The grey arrow from A1 to Ω points to what I call the profound edge of the continuum. This would be the level at which the Totality is an unbroken, Ouroboran monad. This is what happens ‘behind our backs’, hypnotically through evanescence. It is significance reclaimed and re-membered after having been diffracted into the entropy of spacetime. By contrast, the black and white split arrow corresponds to the ‘pedestrian fold’ – the level of the monad which appears most polarized and least evanescent – the terrestrial aesthetic of ‘ordinary’ experience.

In the top chart I have limited cardinality to the public side and ordinality to the private side to show the relation between morphic scale and phoric frequency. Privacy runs first to last (ordinal), publicity places astronomically numerous to few (cardinal).

Compare with Frame Set View: