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Syzygy Integrals and Other Neoquantisms

February 26, 2014 Leave a comment

Syzygy Integral

Syzygy Integral with labels

When applying the syzygy integral to a sense modality such as vision, the Δæ would refer to the difference in the microphenomenal qualities, such as pixel hue, saturation, value, or contrast/edge detection, etc.. the entire palette of what I would call entopic or generic visual encounters. As shown in optical illusions, these elemental graphic features depend on their surrounding context, and two pixels or shaded regions which are measured to be optically identical can be perceived quite differently.

For this reason and others, I suggest that the fundamental nature of all phenomena is only definable in terms of specific properties, but of a pseudo-specific quorum of detectable differences. It looks like a lighter grey on the bottom because of the adjacent contrasts, and it is my conjecture that this kind of pseudo-specificity is at the heart of all measurements, particularly those which we have used to define subatomic particles.

On the top of the integral, the Æ would refer to an entirely different, top-down mode of visual perception. Instead of a delta (Δ) to stand for a the difference of generic micro-phenomenal qualia, the nabla symbol () is used to stand for a divergence from a larger perceptual context. This relates to the binding problem, i.e., when we see two dogs walk behind the same fence, we do not perceive them as becoming the same dog – the narrative continuity does for our overall understanding what the ‘illusory’ plasticity does on a microphenomenal level. To see the ) as a smile in the emoticon  : – )  requires both a low level fudging of pixels into a curve, as well as the ability for our expectation of a face to be projected from the top down. The emoticon is a minimalist example, but a better example would be something like this:

Terms like pareidolia, apophenia, simulacra, and eidetic hallucination all have in common this potential to misread a more proprietary, macrophenomenal text on top of a relatively generic, microphenomenal context.

What the syzygy integral is supposed to model is that any given sense modality is a special kind of integration between top-down or holotrophic orientation and bottom up, entropic orientation. In the case of visual sense, the top-down images are encountered like those in an Rorschach inkblot, as endless wells of imaginative psychosexual association. The personal range of the psyche is here encountering influences from the super-personal range of the overall presence of this moment in relation to their lives, and their lives in relation to eternity.

The bottom-up ‘entopic’ confabulation (entopic hallucinations are those which are geometric designs, etc as opposed to eidetic hallucinations which are images such as specific faces) is where the personal psyche encounters the sub-personal influence of neurological, biological, and chemical events as it impinges on them visually. An entopic hallucination presumably maps much more directly to neurochemical patterns in the visual cortex, whereas the eidetic, storytelling hallucinations would be much more obscure and proprietary. A hallucination of Darth Vader or Dick Cheney might be hard to tell apart from looking at an fMRI, but it should not be so difficult to get a fix on zig zag patterns vs concentric circles, etc.

The syzygy integral of vision then would be this continuum between the sub-phenomenal adhesive that holds the graphic canvas together and the cohesive that renders the meta-phenomenal meanings and figures phenomenally visible. It’s not an ordinary integral, since it has an encircled triple bar in the center, which denotes a participatory intent (motive effect), and an aesthetic contour (sense affect). The term syzygy, an old favorite of mine (its a real word), refers to a union of opposites, either figuratively as in yin-yang, or literally as in an solar eclipse where the Moon is opposite to the Sun behind the Earth.

In the syzygy integral for vision, the vast sweep of possible interpretations from the meta to the micro level is interrupted by the inflection point of the moment as it is localized from eternity (the absolute). That which is seen had been both filtered from above and built up from below, but the visual encounter is defined even in opposition to that. The seeing is not the seen. All visual forms are opposed to an equally rich continuum of possible ways to appreciate those forms and images. The syzygy integral is not just a map of what there is ‘there and then’ but the entire domain of what each and every there and then still means ‘here and now’.

As the syzygy integral can be used to describe vision (vision  = the participatory integration of graphic differences and imaginative likeness) or sound (sound = the participatory integration of phonic differences and psychoacoustic likeness), so too should it be able to describe the character of all phenomena. The underlying formula (Grand syzygy ingegral) uses the * asterisk and # pound to denote the limit of infinite figurative unity and the limit of literal, finite granularity respectively. In this case, the encircled triple bar refers to the Primoridal Identity Pansensitivity, from which all other syzygies are diffracted.

Grand Syzygy Integral

The syzygy integral without the contour circle I am calling the information integral.

Information Integral

Unlike the syzygy integral, which defines every piece of information as an aesthetic encounter or re-acquaintance, the information integral refers only to the skeletal functionality of sense. Locally we may experience novel encounters or acquaintances, but some would argue that all experiences can only be re-acquaintances from the absolute perspective. I think that it may make the most sense to think of even that either-or condition as just another superimposed quality of the absolute. Awareness is infinitely novel, infinitely repeating, and paradoxically non-paradoxical. It is only the disorientation of locality which provides orientation.

The information integral strips away all of the mystical trappings – the supertext and subtext contours, and refers instead to the conventional concepts of information theory. Here, the triple bar is still a participant and intentional arbiter of interpretation between signal and noise, but without the aesthetic complication. This is the standard view of information processing as a functional exercise, only with the additional acknowledgement of a core superposition of telic intention and ontic unintention, absolute improbability and immaculate reliability.

Cosmochart

January 18, 2014 Leave a comment

cosmochart

Chess, Media, and Art

January 15, 2014 Leave a comment

I was listening to Brian Regan’s comedy bit about chess, and how a checkmate is such an unsatisfying ending compared to other games and sports. This is interesting from the standpoint of the insufficiency of information to account for all of reality. Because chess is a game that is entirely defined by logical rules, the ending is a mathematical certainty, given a certain number of moves. That number of moves depends on the computational resources which can be brought to bear on the game, so that a sufficiently powerful calculator will always beat a human player, since human computation is slower and buggier than semiconductors. The large-but-finite number of moves and games* will be parsed much more rapidly and thoroughly by a computer than a person could.

This deterministic structure is very different (as Brian Regan points out) from something like football, where the satisfaction of game play is derived explicitly from the consummation of the play. It is not enough to be able to claim that statistically an opponent’s win is impossible, because in reality statistics are only theoretical. A game played in reality rather than in theory depends on things like the weather and can require a referee. Computers are great at games which depend only on information, but have no sense of satisfaction in aesthetic realism.

In contrast to mechanical determinism, the appearance of clichés presents a softer kind of determinism. Even though there are countless ways that a fictional story could end, the tropes of storytelling provide a feedback loop between audiences and authors which can be as deterministic -in theory- as the literal determinism of chess. By switching the orientation from digital/binary rules to metaphorical/ideal themes, it is the determinism itself which becomes probabilistic. The penalty of making a movie which deviates too far from the expectations of the audience is that it will not be well received by enough people to make it worth producing. Indeed, most of what is produced in film, TV, and even gaming is little more than a skeleton of clichés dressed up in more clichés.

The pull of the cliché is a kind of moral gravity – a social conditioning in which normative thoughts and feelings are reinforced and rewarded. Art and life do not reflect each other so much as they reflect a common sense of shared reassurance in the face of uncertainty. Fine art plays with breaking boundaries, but playfully – it pretends to confront the status quo, but it does so within a culturally sanctioned space. I think that satire is tolerated in Western-objective society because of its departure from the subjective (“Eastern”) worldview, in which meaning and matter are not clearly divided. Satire is seen as both not as threatening to the material-commercial machine, which does not depend on human sentiments to run, and also the controversy that satire produces can be used to drive consumer demands. Something like The Simpsons can be both a genuinely subversive comedy, as well as a fully merchandized, commercial meme-generating partner of FOX.

What lies between the literally closed world of logical rules and the figuratively open world of surreal ideals is what I would call reality. The games that are played in fact rather than just in theory, which share timeless themes but also embody a specific theme of their own are the true source of physical sustenance. Reality emerges from the center out, and from the peripheries in.

*“A guesstimate is that the maximum logical possible positions are somewhere in the region of +-140,100,033, including trans-positional positions, giving the approximation of 4,670,033 maximum logical possible games”

Consciousness and The Interface Theory of Perception, Donald Hoffman

January 14, 2014 3 comments

A very good presentation with lot of overlap on my views. He proposes similar ideas about a sensory-motive primitive and the nature of the world as experience rather than “objective”. What is not factored in is the relation between local and remote experiences and how that relation actually defines the appearance of that relation. Instead of seeing agents as isolated mechanisms, I think they should be seen as more like breaches in the fabric of insensitivity.

It is a little misleading to say (near the end) that a spoon is no more public than a headache. In my view what makes a spoon different from a headache is precisely that the metal is more public than the private experience of a headache. If we make the mistake of assuming an Absolutely public perspective*, then yes, the spoon is not in it, because the spoon is different things depending on how small, large, fast, or slow you are. For the same reason, however, nothing can be said to be in such a perspective. There is no experience of the world which does not originate through the relativity of experience itself. Of course the spoon is more public than a headache, in our experience. To think otherwise as a literal truth would be psychotic or solipsistic. In the Absolute sense, sure, the spoon is a sensory phenomena and nothing else, it is not purely public (nothing is), but locally, is certainly is ‘more’ public.

Something that he mentioned in the presentation had to do with linear algebra and using a matrix of columns which add up to be one. To really jump off into a new level of understanding consciousness, I would think of the totality of experience as something like a matrix of columns which add up, not to 1, but to “=1”. Adding up to 1 is a good enough starting point, as it allows us to think of agents as holes which feel separate on one side and united on the other. Thinking of it as “=1” instead makes it into a portable unity that does something. Each hole recapitulates the totality as well as its own relation to that recapitulation: ‘just like’ unity. From there, the door is open to universal metaphor and local contrasts of degree and kind.

*mathematics invites to do this, because it inverts the naming function of language. Instead of describing a phenomenon in our experience through a common sense of language, math enumerates relationships between theories about experience. The difference is that language can either project itself publicly or integrate public-facing experiences privately, but math is a language which can only face itself. Through math, reflections of experience are fragmented and re-assembled into an ideal rationality – the ideal rationality which reflects the very ideal of rationality that it embodies.

Questioning the Sufficiency of Information

January 12, 2014 2 comments
Better Than The Chinese Room

Searle’s “Chinese Room” thought experiment tends to be despised by strong AI enthusiasts, who seem to take issue with Searle personally because of it. Accusing both the allegory and the author of being stupid, the Systems Reply is the one offered most often. The man in the room may not understand Chinese, but surely the whole system, including book of translation, must be considered to understand Chinese.

Here then is simpler and more familiar example of how computation can differ from natural understanding which is not susceptible to any mereological Systems argument.

If any of you have use passwords which are based on a pattern of keystrokes rather than the letters on the keys, you know that you can enter your password every day without ever knowing what it is you are typing (something with a #r5f^ in it…?).

I think this is a good analogy for machine intelligence. By storing and copying procedures, a pseudo-semantic analysis can be performed, but it is an instrumental logic that has no way to access the letters of the ‘human keyboard’. The universal machine’s keyboard is blank and consists only of theoretical x,y coordinates where keys would be. No matter how good or sophisticated the machine is, it will still have no way to understand what the particular keystrokes “mean” to a person, only how they fit in with whatever set of fixed possibilities has been defined.

Taking the analogy further, the human keyboard only applies to public communication. Privately, we have no keys to strike, and entire paragraphs or books can be represented by a single thought. Unlike computers, we do not have to build our ideas up from syntactic digits. Instead the public-facing computation follows from the experienced sense of what is to be communicated in general, from the top down, and the inside out.

 

The Scale of Digital

How large does a digital circle have to be before the circumference seems like a straight line?

Digital information has no scale or sense of relation. Code is code. Any rendering of that code into a visual experience of lines and curves is a question of graphic formatting and human optical interaction. With a universe that assumes information as fundamental, the proximity-dependent flatness or roundness of the Earth would have to be defined programmatically. Otherwise, it is simply “the case” that a person is standing on the round surface of the round Earth. Proximity is simply a value with no inherent geometric relevance.

When we resize a circle in Photoshop, for instance, the program is not transforming a real shape, it is erasing the old digital circle and creating a new, unrelated digital circle. Like a cartoon, the relation between the before and after, between one frame and the “next” is within our own interpretation, not within the information.

Square Spiral Diagram

January 7, 2014 Leave a comment

55squarespiral

This square spiral logo is coming in handy, but my apologies if it is getting monotonous. This is an informal flow chart of what might be called cosmological metabolism. The interplay between H and Σ describe the catabolic and anabolic principles (Entropy and Significance). The idea here is that the primordial identity or principle behind everything is sense, and that through the alienation or diffraction of sense, followed by re-uniting, significance is gained.

Sense can be understood as accumulating from the bottom up, as complexity and sophistication of experience, and also as a splitting off from the Totality. Consciousness can be understood as a nesting of coincidence which accelerates itself. Time is a comparison of coincidences in which a logical distance is inferred, while space is presented as a logical context within which objects or forms coincide directly. Clock time, therefore is a spatialization of our inner experience – a masking of private, lifelong harmonics which are semantic and quasi-narrative. The gaps of time give structure to the autobiographical dream.

Sense bridges the gap between one time and another, across distance or separation, connecting public and private. Sense tears itself down so it can build improvement. Our public view of physics eradicates meaning inadvertently by hiding coincidence. Because sense is the primordial identity, coincidence can be thought of as the existential expression of what is essentially transformations of meaning and aesthetic quality. When we spread it out over space and time, it looks like coincidence, but if we keep spreading it out, it looks like unrelated incidents. The refinement of these unrelated incidents into generic, meaningless functions, is what is physics and math are about – however, because the nature of sense is  self-reflective and self-revealing, the blueprint of its grandest coincidences can be seen, even in their absence.

Why Likeness is Not, Like, the Same as Sameness

December 26, 2013 2 comments

Image

Why do we like to like the same things, until the thing we liked becomes the same old thing?

Why is there “Good as New” and “Like New”, but not “Same as New”?

I think that the difference between like and same are especially related to consciousness and support the idea of awareness (and therefore attention) as more ‘like’ novelty and ‘like-ness’ than it is ‘the same as’ the integration or processing of information.

Machines are characterized by their ability to do the same thing, over and over. The idea behind digital technology is really to be able to do the exact same thing, over and over and over, forever. Does this kind of behavior wake us up or does it lull us into a stupor? What kinds of things put us to sleep and what kinds of experiences wake us up?

Waking up is not an abstract theory. Waking up instantiates us into the directly and concretely sensed now, into public time. The now and the new are unrepeatable and unique, thus there can be nothing which is ‘the same as’ new without actually being new. When we say that something is ‘the same’ as something else, we are often speaking metaphorically. What we mean is that the difference is not important, and that one thing is functionally equivalent to another.

Anti-Metaphor

Within the world of mathematics, ‘the same’ or “=” is a metaphor for that which is literally identical or interchangeable in all circumstances. Unlike physical reality, the whole of mathematics is a symbolic abstraction – a metaphor for anti-metaphor:

Where metaphors are ‘like’ conceptual rhymes or semantic likeness which cut across the whole of human intuition poetically and aesthetically, mathematical metaphors are aiming for the opposite effect in which meaning is frozen into position, clear, defined, and unambiguous. This is meaning which has been reflected in the looking glass of thermodynamic irreversibility. It is the privatized essence of publicity.

When we look out of ourselves, we see only that which can be decomposed and measured. Feeling is presented as figures, and figuring them out literally gives us a feeling of transcending the ambiguity, fluidity, and obscurity our own subjective awareness.

I see the opportunity that lies before us is to recover the authenticity of awareness without sacrificing the reliability of its substitute. The worldview that is driven by quantitative formula alone cannot locate the now, other than as a promise that it will eventually be found – under a heap of accidents. Accidents and probability are the inverted image of intention and likeness. They are what you get when sameness is assumed to be primitive. The universe is failed sameness and broken symmetry – serial mutation.

To overcome the prejudices inherent in this worldview, an important step is to understand the irony that the intention behind measurement leads to its own perfect illogical fallacy. To count and codify is to try to escape from personal bias and fuzzy ‘likeness’ which is not the ‘exact same thing’ as truth, but what we have found increasingly, is that we cannot be immune from an equally toxic bias toward the impersonal. As much as we want to be ‘certainly in the right’, and to put ‘everything under the sun’ in tune, the enlightenment of the Western mind is eclipsed by its own insensitivity and denial. The more that we seek out the next product or service to make us feel ‘like new’, the faster it becomes the same old crap.

Free Will Isn’t a Predictive Statistical Model

December 25, 2013 12 comments

Free will is a program guessing what could happen if resources were spent executing code before having to execute it.

I suggest that Free Will is not merely the feeling of predicting effects, but is the power to dictate effects. It gets complicated because when we introspect on our own introspection, our personal awareness unravels into a hall of sub-personal mirrors. When we ask ourselves ‘why did I eat that pizza’, we can trace back a chain of ‘because…I wanted to. Because I was hungry…Because I saw a pizza on TV…’ and we are tempted to conclude that our own involvement was just to passively rubber stamp a course of multiple-choice actions that were already in motion.

If instead, we look at the entire ensemble of our responses to the influences, from TV image, to the body’s hunger, to the preference for pizza, etc as more of a kaleidoscope gestalt of ‘me’, then we can understand will on a personal level rather than a mechanical level. On the sub-personal level, where there is processing of information in the brain and competing drives in the mind, we, as individuals do not exist. This is the mistake of the neuroscientific experiments thus far. They assume a bottom-up production of consciousness from unconscious microphysical processes, rather than seeing a bi-directional relation between many levels of description and multiple kinds of relation between micro and macro, physical and phenomenal.

My big interest is in how intention causes action

I think that intention is already an action, and in a human being that action takes place on the neurochemical level if we look at it from the outside. For the motive effect of the brain to translate into the motor effect of the rest of the body involves the sub-personal imitation of the personal motive, or you could say the diffraction of the personal motive as it is made increasingly impersonal, slower, larger, and more public-facing (mechanical) process.

Why an Atom is More Like a Person Than a Doll Is

December 8, 2013 4 comments

Another thing that really puzzles me is the way that you agree with me that nothing is inanimate, and yet you repeatedly use arguments that are based on the premise that some things are inanimate. Is this just an *apparent* contradiction because we use the term ‘inanimate’ in fundamentally different ways, or is it a contradiction in your thinking? Could you perhaps explain this?

It makes sense that it would seem contradictory, as this issue is really a more advanced concept that goes beyond accepting the initial premises which we agree on. Lets say that we want to create a whole other Everything from scratch. In my view, as long as we keep things relatively simple, as in no complex organic life, our views are pretty much interchangeable. It doesn’t matter whether information processes are irreducibly animate as you say, or whether information processes are actually the self-diffracted gaps in the primordial identity pansensitivity, as I suggest. The effect is indistinguishable and we have cool stuff going on, with physics, aesthetics, entropy all naturally falling out as parameters.

The question of primordial identity begins to seem more important as multicellular life begins and we have to choose to bet on whether the body of any dividing cell is type identical to the experience associated with the organism as a whole, or whether there are multiple layers of experience going on. If there are multiple layers of awareness going on, does one of the layers act as an umbrella for the others, and if so, is it a summary/identity layer as the color white would be to the visible spectrum of colors, or is it an emergent layer which is produced by transfers of quantitative results, so that the cellular experiences are a priori ‘real’ and the macrophenomenal experiences are generated as a kind of projection which is less than primitively real.

What I do with MSR is to assume that the primary relation is perceptual relativity. This means that spacetime is scaled to the significance of experiences rather than fixed to a scalar index. By this I mean that the cell level microphenomenal experience is simultaneous with the organism level macrophenomenal experience, but that their simultaneity is asymmetric, as the macro appears smeared across time from the micro perspective. When we use microscopic scales to poke around in the body and brain, we are essentially driving a wedge between the macro and micro, but without recognizing that microphysical effects refer only to microphenomenal affects and not macrophenomenal affects.

At the level of the cell or molecule, the organism as a whole, if it is a complex organism, does not exist. Literally. There is no {your name here} to your DNA. Its a completely different level of description in which the public side relates mechanically (molecules must functionally produce cells and be produced by cells), and the private side relates *metaphorically*. It’s a complete divergence which does not appear prominently in pre-biotic phenomena. Each organism is evolving separately on the inside than it is on the outside, and that dimorphism is getting exponentially more pronounced as it evolves. The public body side appears to be physically recapitulating itself as a growing, multiplying, dividing structure in space, while the private experiential side has no appearance and is felt as the invariant nexus of a story about the world which appears to be repeating in nested cycles and progressing in a linear narrative.

The two stories are different. The microphenomenal story appears to relate to physical events, which we can observe in everything from a viral infection to changes in temperature or pressure in the environment. The macrophenomenal story, at least for us, is consumed by history and teleology. We respond to the environment based on our accumulated experience and intention. This so-called mind-body split is actually worse than that. Coming from a time where we had no understanding of microphysics, the simplistic mind-body mapping flattens human awareness into a single horizontal dualism. What I suggest is that dualism is actually an orthogonal monism, but that each horizontal dualism is part of a vertical stack. The cell that is seen by the organism in the organisms world is only a snapshot that it can see during one if its moments. To look at one of your blood cells under a microscope is for the cell to see itself from two different evolutionary times, with the newer, larger experience looking at a moment of the older, smaller experience and seeing it from the outside, as an object or machine. This is how the aesthetics of distance works for us – when we outgrow an experience, the here and now associated with us is recontextualized aesthetically as a there and then which is associated with “it”.

I don’t know if that makes it seem even more confusing, but what I am trying to get at is that the more the universe recapitulates itself as increasingly nested experiences, the more important it is that we see that which is nesting itself as primary and the overall nest as ‘inanimate’. Pragmatically, we can’t walk around the house worried about how the carpet fibers feel, or whether we have underestimated the feelings of the avatar we have created in a computer game. If it is the nesting instead which is primary rather than what is being nested, then we have no justification at all for our intuitions about life and death or organic vs artificial processes and we can only turn to a kind of gradient of probable intelligence based on complexity.

There are a lot of problems with that, not the least of which is that we are required to take the word of any sufficiently sophisticated machine over our own understanding. We become unable to justify any significant difference between an interactive cartoon character that acts like a person, and a fellow human being. A successful stock market trading program would be entitled to staff companies entirely with copies of itself and reduce the entire human population to an unemployed resource liability. I’m just throwing out a few wild examples, but there are many less extreme but undesirable consequences to personifying information processes, as we are starting to see with the rise of corporate personhood in the US. A corporation is an information process, as is a city, but we have to decide whether the employees and citizens ultimately serve the motives of the process or whether the processes are to extend from their motives. If process is primary, then we are mere spectators to the process of our own irrelevance. If sense and motive are primary, then the process is ours to do with it as we wish. Nothing short of the future of the universe hangs in the balance. It is more convenient to work with measurable processes and theories than messy emotions and sensations, yet the universe has found a way to do that, and I think so should we.

If we think of the world that we see through our eyes as an experience in the moment rather than the whole truth of existence, it is no longer a given that configurations and complexity are creators of life. The cellular machinery only relates to extra-cellular machinery on far micro and far macro levels of description. The most dynamic range is the fertile middle. Humans have, as far as we know, the broadest range between the mechanistic ‘out there’ and animistic ‘in here’. This is what makes us human. Any theory which does not clearly understand why that is important is not a complete theory, and is therefore ultimately a theory of the destruction of humanity. I’m not a huge fan of humanity myself, so I say this not as some Cassandra-esque wolf crying, but as a consequence of what seems to be the case when I add up everything to get a big picture. Information cannot feel. These words are not generic patterns produced by inevitable process alone. They are my words, and I am instantiating them directly on my own irreducibly macrophenomenal level.

Free Will and the Square Root of Entropy

December 1, 2013 2 comments

keyhole

A first draft remix of the previous ortho-lattice diagram.

This view introduces a new factor, the square root of Entropy (√H). If the universe is founded on pansensitivity or Sense (), then the initial  fracture is between the particular aesthetic qualities which stand out (Qualia æ), and which are anesthetized* (√H).

This primal choice between what gains attention and what loses it is equal to Motive (Ω), and represents the midway oscillation between sense and entropy.

Entropy or Panentropy (H) is defined as the contents of the formula in the box, ω = E/∞.

Quanta (mechanism or minimum possible qualia) equals Energy (E) divided by spacetime,

i.e. when “energy”**  it means that a sub-personal sensation is quantified, it is decomposed spatially to position or temporally to disposition. This branching of quanta is also the branching of analog (proprietary likeness) and digital (generic substitution).

This accumulation of ‘live’ experiences taking place here and now is continuously breaking down into the scale nested multiplicity of theres and thens. This breaking down process is quantum/entropy, and it is the conjugate to sensory-motive, which are both together the conjugate of the Absolute ()

The formula on the top is more or less a rewording of E=MC², only with Matter (M) instead of Mass, and Quanta compressing the notions of energy and spacetime. Adding Significance (Σ)† to the formula makes it about the concrete realism of physical substance, rather than conceptual inertia or drag on acceleration. Unlike mass, matter is a three dimensional presence which is an anesthetized embodiment of significance.

Note the inverted parentheses in the sensory-motive formula denotes its fundamental receptivity and interiority relative to the Matter-Significance formula on the top (denoting exterior forms/bodies).

 

* Anesthetized = unintentionally ignored, masked, elided, alienated, automated, mechanized, or ablated. To be made ‘other’, impersonal, inanimate, etc.

** Energy = anesthetized motive

† Significance is the sum of sense squared (² = ) or cardinality; sense of proprietary motivation – identifiable likeness.

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