Colorball Diagram Explained

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This diagram is based on ideas from my reality theory, Multisense Realism. I have found that many of these ideas coincide with previous concepts in philosophy, but if I’m on the right track, then MSR offers a new and more complete integration of scientific observations and subjective reports.

To make it clearer, I have added a numbering scheme, with negative numbers on the Left or West side, and positive numbers on the East side or Orient. In addition to the version of the colorball diagram that has been posted, there will be another version in a future post which has the same schema but introduces some new terms which qualify the frame set by degree of aesthetic depth rather than kind.

Key I

Teleological-Absolute (+∞) :: Universal-Axiomatic (-∞)
Mytho-Poetic (+3) ::  Geometric-Algebraic (-3)
Mental-Emotional (+2) :: Scientific-Mechanical (-2)
Sensory-Motive/Perceptual (+1) ::  Electro-Magnetic/Relativistic (-1)
Proto-Aesthetic (+0) :: Quantum-Digital (-0)

Key II
Absolute (+∞) :: Anesthetic (-∞)
Entelethetic (+3) ::  Hypothetic (-3)
Aesthetic (+2) :: Exthetic (-2)
Immediate (+1) ::  Etheric (-1)
Protosthetic (+0) :: Pseudethetic (-0)

Key III
Presence (+∞) :: Law (-∞)
Imagination (+3) :: Logic (-3)
Mind (+2) :: Matter (-2)
Impulse (+1) ::  Energy (-1)
Entropy (+0) :: Information (-0)

There are a lot of other diagrams that I have done as collages or graphs, but what I was trying to do here is to give a sense of these ranges of aesthetic (sensed, felt, appreciated) qualities as a spherical-banded on one side and flat-concentric on the other. The idea of making the experiential side spherical is that it represents that given the assumption of Pansensitivity that MSR makes, the totality of experience is the largest possibility. The total of all experiences throughout eternity (assuming nested relativistic time frequencies) dwarfs all possible sets of phenomena or structures within that possibility.

It’s a big idea that gets discussed on the website in more detail. Suffice to say, the universe of conscious experience is being compared to a big colorful ball, but has only its surface to express some view of eternity. Thinking of the numbers of the Keys above, the higher the positive integer, the more translucent the surface becomes and the more of what might be called the genius of eternity (the most illuminated views of the past and all future potentials) is illuminated at once. The lower the number, the more opaque and reflective the surface becomes, so that individual sensations ground awareness in the immediacy of the moment.

The negative numbers can be thought of as ignoring the depth and surface of the sphere completely, but adding structure and realism by cutting across the interior. Unlike direct awareness, the power of math and science to help us infer what we cannot see for ourselves is timeless in an entirely different way. The universe of science is the orthogonal cross section of the universe of feeling and experience, so that its formula and theorems emerge from reading between the cracks of experience. The scientific mind tries to subtract themselves out of the picture, to create a perfect experimental vacuum for impartial, unbiased truth. What the Western side lacks in vitality and wisdom, it makes up for with knowledge and intelligence. The concentric circles also represent the way that the most extreme physical conditions (quantum, astrophysics) share the same forces but differ from the kinds of phenomena found in mid-sized, macroscopic scales (medicine, agriculture).

Monochord

On the East side of the colorball, the prismatic banding emphasizes a loose hierarchy of what could be called aesthetic prestige. Besides just modulating how much of the eternal experience can come to the surface of awareness, there nature of privacy is such that there is a hierarchy significance. Even if we wanted to, it would be hard to take the life of a flea or dandelion to be as interesting or important as a person. Each band signifies a ‘leveling up’ or ascending within the totality of awareness. There is a ton of legitimate and flaky stuff out there about this kind of thing of course (Ken Wilber’s work has extensive correlations of these kinds of systems) so I try not to dwell on what its about, but generally, my system tries to simplify and science-ify the whole thing, so that it does seem as likely to relate only to the experiences of human beings.

Roughly mapping to the Chakra system and other monochord designs, the journey of improving sense can be compared to language. The basic unit would be phenomena in the orange Sensory-Motive (+1) range and can be compared to [letters or syllables] in a word. These would be raw sensations and sensory qualities, aka the root nature of qualia.

Going up the ranks, the yellow Mental-Emotional (+2) range would be like [words and paragraphs] to the +1 [letters and syllables]. This level is the garden variety waking state of mind for most people. Getting things done, thinking, and being a person. It’s the range we could call Natural and Aesthetic.

When consciousness becomes so elevated that realism begins to become transparent, past and future mingle and the ordinary becomes extraordinary. The Mytho-Poetic (+3) band corresponds to ideas like the collective unconscious and archetypes, but also just regular old imagination and fictional stories. This level would correspond to [paragraphs and stories], and it is super-personal in the sense of it reaches for the heroic and divine. It is also cultural and prophetic, psychedelic, delusional. etc. As the integer increases and the surface becomes more illuminated, the interconnectedness of things is revealed as metaphor and coincidence.

The monochord can be thought of as a logarithmic scale of relative time as well. The ‘now’ of a sensation can be less than a second, but to think and feel like a person in the world requires a larger ‘now’, of hours. The Mytho-Poetic seems supernatural to us because I think that it represents our sensitivity into the larger now of weeks, years, and lifetimes. Under heightened conditions of consciousness, it is common to experience the feeling that time has stopped, whereas under sedative or narcotic masking of consciousness, time can seem to be lost or forgotten. Because higher consciousness dilates experienced time, high states can be visionary and far-sighted, or just ‘far-out’. The Mytho-Poetic level is notoriously ambiguous and deceptive, possibly because because we are glimpsing experiences which are, from our local perspective, still half-baked.

The Teleological-Absolute (+∞) can be God, if we prefer a Western metaphor. In that case it would correspond to the [author or artist] writing the stories, that are made of words, that are made of letters.Teleological = Top Down, like I am writing this from a single intention which cascades down through my wording mind, through the finger-tapping keys and the bit-byte-ing computer hardware that we share.

If, like me, you don’t resonate so much with an anthropomorphic God, the Totality can be the Absolute inertial frame instead, and the authors and artists are themselves written by the art – by sense itself. It sounds crazy, but it makes sense to me as a next step after ‘We are spiritual beings having a human experience’ to just say, ‘we are a human experience’. I call this Primordial Identity Pansensitivity.There are many concepts within Eastern philosophy and Western mysticism which reflect this kind of non-deity generator of everythingness, but I think that it is important that we understand this as physics – the physics of privacy.

If the East side is about time and experience, the West side is about scales of space and experiences in which we deduce and infer hidden patterns which explain our experience. This is Science rather than Art, and Science begins in the opposite way as the Teleological Absolute – it begins with a blank slate…or does it? The universe of space is based on laws which are taken to be axiomatic. The Universal-Axiomatic (-∞) means that when we want to get real and we have to stop looking for metaphysical truths, and instead accept that ‘stuff exists’, including laws which guide and propagate changes in the cosmos.

The Geometric-Algebraic (-3) range is the most ancient range of the Western thesis. Classical mathematics and philosophy are inseparable, and like the +3 Mytho-Poetic, range that it opposes, it has to do with perfection. Where the +3 phenomena are perfectly actualized expressions of timeless themes and characters, the -3 phenomena are elegant in their purity. This is not sense for the sake of sensation, but sense-making for the sake of permanence. +3 has its dragons and goddesses, but -3 has Pi, and Euler’s Identity, hypoteneuse, etc.

As Geometry and Algebra become more sophisticated, Trigonometry and Calculus ushered in the Enlightenment Era and modernism in science. The Scientific-Mechanical (-2) level splits Science from Philosophy, with Descartes, Copernicus, Leibniz and Newton, among others building on Renaissance advances since Galileo. The Reformation echoes the philosophical break, with top-heavy Roman Catholicism and angels-on-the-head-of-a-pin Scholasticism yielding to the rise of classical mechanics, empiricism and the industrial revolution.

From the work of scientists like James Clerk Maxwell and Marie Curie, the nature of Electro-Magnetic/Relativistic (-1) phenomena was brought to light. The electric era, followed by the radio, atomic, and electronic era tap into an invisible, etheric layer of structure. Unlike any of the previous conceptual models based on forms and volumes, the pervasiveness of vibrations and waves constructed only of frequencies and wavelengths is, in my opinion, the correlate to +1 Sensory-Motor/Perceptual phenomena, and I think that there is a lot of indication that this could be true, given the utility that neuroscience has found in electromagnetic access to the brain.

Finally, the Quantum-Digital (-0) level, picking up where Einstein left off, is giving us a taste of an information-theoretic universe. The heroes of Quantum Theory include Planck, Bohr, Heisenberg, Feynman, etc as well as Turing, Shannon, Bateson, and many others for introducing a probabilistic Wonderland in which reality can only be calculated, but not understood. Each of these levels deserves a dissertation, and then another set of dissertations about how they all relate. Hopefully that is enough to give anyone who has stuck with it this far a taste of that this is all about.

*+0 is rounded off, but it would really be +0.00…1, since absolute zero is impossible under MSR. Same with -0.00…1; rounded off here to -0.

A second version of the chart describes the frames more in terms of their aesthetic nature.

Image

Key:
Absolute (+∞) :: Anesthetic (-∞)
Entelethetic (+3) ::  Hypothetic (-3)
Aesthetic (+2) :: Exthetic (-2)

Immediate (+1) ::  Etheric (-1)

Protosthetic (+0) :: Pseudethetic (-0)

The new terms in this second version are:

  • Protosthetic (+0), referring to the minimum quality of awareness as well as the quality of minimum awareness. On a scale of +0* to +∞, this level is the +0 because it represents experiences which have been aesthetically masked to appear imperceptible. This can be thought of as the personal unconscious, as opposed to the collective unconscious, which is the Absolute level that is positioned on top of the diagram, but is actually the entire sphere. It’s number would be +∞. The entire left half of the sphere can be thought of as a slice within the protosthetic range, just as the greyscale can be thought of as variations on black and white.
  • Pseudethetic (-0) is the outside-in version of Protosthetic. Where protosthetic phenomena seem alienated or unconscious but are, on some level, a symptom of experience, pseudethetic phenomena are not as conscious as they appear to be. The -0 range is about artifice and simulation, and can include anything from a puppet or stuffed animal to a sophisticated AGI system. Protosthetic would include states in which we are personally unconscious, but can be thought of as that which wakes us up from a sub-personal level.
  • Exthetic (-2) is a term I’m trying out as the public-facing conjugate to Aesthetic. This is the common sense of structure that the real world generally seems to have. It is the sense of concrete exteriority which we rely on to engage with the world rather than in our mind. The sense of fixed mass objects in space and linear causality, and all of the other macroscopic cues that pervade classical physics, as well as all of the hard sciences.
  • Entelethetic (+3) is intended to refer to a level of hyper-aesthetic dreams, symbols, and archetypes. Also knows as the collective unconscious or  Dreamtime, this band of sensitivity is super-natural and trans-personal (yet still private). The word borrows from Entelechy, which has to do with a drive toward self-actualization, which is apt considering the visionary nature of this ‘third eye’ view.


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