Posts Tagged ‘math’

Breaking The Fourth Wall

July 14, 2013 Leave a comment


Sense (in the Absolute sense) reveals itself reflexively as the Uni-verse, aka monad of non-orientable self-juxtaposition, aka, “the Pansensitive Meta-Lectic Solitrophic-Holarchic Multiphoric-Unametry”, provider of implicit unity (likeness) across multiplicity (private sensory afference) and explicit participation (public motor efference) through intentional animism and automatic mechanism.

1. Directed back on itself.

entanglement; a spiraling inwards; intricacy
(mathematics) A function, transformation, or operator that is equal to its inverse, i.e., which gives the identity when applied to itself.

the careful juxtaposition of shapes in a pattern; “a tessellation of hexagons”.

A surface S in the Euclidean spaceR3 is orientable if a two-dimensional figure (for example, Small pie.svg) cannot be moved around the surface and back to where it started so that it looks like its own mirror image (Pie 2.svg). Otherwise the surface is non-orientable.

The Möbius strip is a non-orientable surface

The Ouroboros or Uroboros is an ancient symbol depicting a serpent or dragon eating its own tail.

The Ouroboros often symbolize self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself, the eternal return, and other things such as the phoenix which operate in cycles that begin anew as soon as they end. It can also represent the idea of primordial unity related to something existing in or persisting from the beginning with such force or qualities it cannot be extinguished. While first emerging in Ancient Egypt, the Ouroboros has been important in religious and mythological symbolism, but has also been frequently used in alchemical illustrations, where it symbolizes the circular nature of the alchemist’s opus. It is also often associated with Gnosticism, and Hermeticism. Carl Jung interpreted the Ouroboros as having an archetypal significance to the human psyche.[citation needed] The Jungian psychologist Erich Neumann writes of it as a representation of the pre-ego “dawn state”, depicting the undifferentiated infancy experience of both mankind and the individual child.

Early alchemical ouroboros illustration. From the work of Cleopatra the Alchemist (Greco-Roman Egypt).

Autopoiesis (from Greek auto-, meaning “self”, and poiesis, meaning “creation, production”) refers to a closed system capable of creating itself. The term was introduced in 1972 by Chilean biologists Humberto Maturana and Francisco Varela to define to the self-maintaining chemistry of living cells. Since then the concept has been also applied to the fields of systems theory and sociology.

Bootstrapping or booting refers to a group of metaphors which refer to a self-sustaining process that proceeds without external help.
The phrase appears to have originated in the early 19th century United States (particularly in the sense “pull oneself over a fence by one’s bootstraps”), to mean an absurdly impossible action, an adynaton.

Trompe l’œil (French for deceive the eye) is an art technique that uses realistic imagery to create the optical illusion that depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture.

Breaking the fourth wall is when a character acknowledges their fictionality, by either indirectly or directly addressing the audience. Alternatively, they may interact with their creator (the author of the book, the director of the movie, the artist of the comic book, etc.). This is more akin to breaking one of the walls of the set, but the existence of a director implies the existence of an audience, so it’s still indirectly Breaking The Fourth Wall. This trope is usually used for comedic purposes.

Mathematical Musings

June 6, 2013 6 comments

Here are some of the more mathematical concepts related to Multisense Realism.

Position on Mathematics

Mathematics does not exist on its own. It does not haunt the vacuum of space. It does not manifest as public objects or substances. It has no will or motivation.

Mathematics is two distinctly different (opposite) things:

1) A private experience of imagined sensory symbol-figures which accompany a motive of quantitative reasoning.

2) A collection of public objects interacting in a logical, causal way, without any private representations, as a consequence of the shapes of multiple rigid bodies.

The problem with functionalist expectations is that they seduce us into a shell game so that when we look at math ‘out there’ (2), we smuggle in the meaning from ‘in here’ (1), and when we look at meaning in here (1) we mis-attribute it to the blind enactment of material bodies.

We assume that the world outside of our minds runs on math not because it actually does, but because our awareness of the public arena is a grossly reduced, indirect logical construction. The universe without, like the universe within, runs on qualitative sensory-motor experiences.

Turning the functionalist expectations around then, we find that the activity of the brain is not the source of human experience, but rather the effect of many kinds of experience on many levels (physical, chemical, biological). These experiences are not generated by information or mathematics, but rather information is an analysis of experiences by someone who knows almost nothing about them first hand.

We are used to thinking of ‘data’ in terms of digital vs analog. Consider however that both of these categories are a-signifying formats. I would like to propose a principle by which subjective, signifying experience is introduced – a qualitative instrumentality of being.

Think of the number line – abstract, linear, literal. A conception of pure quantitative non-awareness. It’s a semantic artifact from which all qualitative content has been stripped. It’s like a Supremetist work of art, really.

The act of measurement itself is to invert qualitative experience – to collapse it into value coordinates on a numberline, allowing us to treat it as a hypothetical object, aka, a figure.

Ordinal position applies to the literal, outward facing specifications of rank. This is where the universe gets the ideas for front and back (anterior and posterior) and interior exterior. As in Chess, rank refers to the relative power of the piece – the order of their significance to the game.

Ordinal disposition applies to the figurative, inward facing qualities associated with rank. This is where the universe gets the ideas for best and worst (superior and inferior). Feeling like a King or Queen, being treated like royalty, having access to first choice in dividing the spoils, etc. Ordinal disposition is about the experiential privilege of rank while ordinal position is about the mechanics associated with delivering or deriving that privilege.

by contrast, Cardinal position I am saying refers to the relative size of a real public phenomenon. The range here is along an axis from the micro to the mega, and can refer to increasing scopes and scale or increasing quantitative complexity. This is about structures nested within structures, separated by spaces of varying size. Rather than in/out, front/back, or high/low-superior/inferior, cardinal position is about spatial-topological extension – long/short, large/small.

Cardinal disposition rounds out the four as an evaluation based on rarity. Like the pawns in chess, their generic abundance relative to the two unique pieces and the three duplicated pieces indicates their disposable rank. This is different from ordinal disposition in that superiority/inferiority derives not from order in a sequence, but from degree of commonality. Where cardinal position is about space and geometry, cardinal disposition is about feelings derived from time and algebra; frequency. How often. Sooner/later. Cheap/dear. Ordinary/exotic. The magic here is in pattern recognition. ‘Three in a row’ is an example of how low caste occurrences can ascend to uncommon value.

The terms for the columns and rows in chess, rank and file, are useful here. The rank can be seen as the vertical axis of qualitative position and disposition, while the single-file of pawns exemplifies the horizontal axis of quantitative position and disposition. Poker hands are a good metaphor to see this as well. Pairs, three and four of a kind, flushes display cardinal significance, straights, high cards, and Royal flushes display ordinal significance. The other hands, full house, straight flush, demonstrate an appreciation of the cardinal disposition of combined cardinal and ordinal values.

Causation Diagram

I suggest that consciousness isn’t built up from nothing by tiny parts, it is recovered from everything by sensitivity. Unlike traditional causation models, Multisense Realism posits a radiant centripetal locus (‘here and now’) divided into lower (interior) and upper (exterior) sense conjugates. The blue and yellow connote the mirroring of the conjugates, signifying that subjective and objective modalities are not merely different but are opposite, or orthomodular ontologies:

Yellow: Interior significance (doing*being)(timespace) and
Blue: Exterior entropy (matter/energy)/spacetime

In the lower yellow half, the subjective experience of ‘now’ (M1) represents the tip of an iceberg of mental events (M) through constraints on experiential scope . The scope of a human experience is limited on the ‘near’ end by sampling rate and on the ‘far’ end by long term memory.  The event horizon of the M1 now degenerates from proprietary availability toward (totality of experience, significance, or consciousness itself) along a proposed fractional Fibonacci ratio.

The blue upper half, by contrast, depicts the counterpart to M1 as ΣP, or the sum of all physical presentations relative to any given M stack. Note that physical presentations (P) are understood to be the ‘back end’ of mental presentations (M), i.e. a better symbol for physical presentations here might be shaped like a W to mirror M.

In the blue half of the diagram, the fading nested ellipses represent a different, public kind of constraint on sense – obstruction and scale.  Beginning from the outside at P1 (the Big Bang) and proliferating into smaller and more granular forms. The spread between the cosmic and the microcosmic pushes out from the middle.

Degree of figurativeness in qualia equates to privacy of qualia.

1.      Subjects necessarily have access to more qualia which applies to their autobiographical experience than qualia which refers to external, publicly accessible experience.

2.      It is proposed that the more strictly personal a quale is, the greater the set of interconnected psychological associations that exists for the individual and the richer and more imaginative those associations can be.

3.      Mathematically, the more personal an experience is to us, the more ways we can shift its meaning, making qualitative floridity and associative fluidity directly proportional to privacy.

Sole Entropy Well Model

Loschmidt’s Paradox, which  as I understand it is basically “If the universe is always  increasing from low entropy to high entropy, then where did the initial  low entropy come from?” can be approached in a different way than what has been suggested so far. Boltzmann’s entropy curve proposes that our universe’s Big Bang is only one of many bubbles or waves which we find ourselves in anthropically.

What I propose instead is a single well of bottomless low entropy,  which perpetually lengthens as all possible Boltzmann entropy waves are anticipated and absorbed before they can threaten the negentropic monopoly of the well.

In this view, the range of possible kinds of signals becomes quantitatively bound on one extreme by the Absolute (where all signals are fused in singularity of significance) and spacetime (where all signals are divided in absolute cardinality or insignificance). Like velocity, which ranges from stillness to c, the phenomenon of significance actually defines the parameters of its own measure.  Entropy has  meaning only in relation to expected significance, such that anything less than  100% entropy has some portion of Absolute significance. The most insignificant event can still only have 99.999…% entropy, and even the negentropic monopoly of the Absolute can only ever attain 0.000…1% entropy.

This way, the Big  Bang becomes a perpetually receding event horizon of absolute and eternal negentropy,  – a Borg-like ‘bright whole’ which tyrannically  absorbs and subordinates all potentials and possibilities into a single  continuum-schema of sense. This continuum must accommodate all paradoxes which  amounts to a lot of fancy devices like nesting signals within each other on  multiple interrelated layers or castes, and orthomodular juxtapositions such as private-public. These  devices accomplish what I call the Big Diffraction.

The initial signal, which is the bootstrap for all sense-motor phenomena, is initiation itself, and as it defines all future coherence, it is perpetually hogging all  possible signals for all time, banishing any rival Multiverse by perpetual deferment and delay.

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