reaching with the arm of an exponential curve

traversing a space with fuzzy, possible images; which thoughts are born, future me’s peers back and listen to the images: I am born! A crystal of time-periodic ideas calls forth with an image: THIS, art has begot, has begun its own forth-withdrawing image; that is, a kind of current-see currency of current seas currently curving quietly through time’s periodic crystal of me’s, that fuzzy combination of possibilities that I sayeth oh mandala brink beyond? Where to kneel lastly only for the rolling edge of movement. Categories listing the numerous behaviors under which philosophy rides like sails in the winds of spirits to drink, my friends.

Shimmer, John Baez, Greg Egan, 2012

http://www.math.ucr.edu/home/baez/music/quasimusic/shimmer/

The Hall of Mirrors in the Palace at Versailles, Terry Riley, John Cale, 1971

Logic unveils itself in the twilight of an organic relation; the mind sifts, the body lifts each conjecture to the height of an angle for the eye to peer. Alas, merely a single dimension. The principle at hand with an acausal force of direction, an upwind of wisdom i’ll term non-linear for the time being; acausal is too radical. Is there science in the unknown? Perhaps with a mathematical model for the turning of the soil of ideas, a recursive one, that is. But if information with context is knowledge, and knowledge with context wisdom, and wisdom with context…Surely, there exists a definition which in its definition defines itself indefinitely; that is to say, perhaps there is a key within the underlying assumptions, the axioms at the heart of processes that point definitely, to the next layer of recursive definition. In this way, the structure of ideas unfolds as a chaotic system, as many recursions will prove. The generation of assumptions is itself robust, with high degrees of randomness due to its correlation with the concerns of self-replicating, evolving organisms. It goes to say, there might exist thousand dimensional creatures within fourier-series rhythmic structure of fundamentally automatous, rule-based interactions of matter in two dimensions; i.e., a computer (thinks Greg Egan).

Here’s one dimension: albeit, the most fundamental. I recently modified my software to generate arbitrarily large images for print. mod_19749_pos_8685__multiplier_9119_frames1757_edit

 

The Merchant and the Alchemist’s Gate

“The Merchant and the Alchemist’s Gate”, by author Ted Chiang is a philosophically compelling version of time-travel. The story is rooted in the Novikov Self-Consistency Principle, a mathematical solution that in some cases permits time-travel in 4-d spacetime (General Relativity). The story’s form is topologically beautiful, a kind of self-fulfilling shape like a Klein Bottle or Mobius Strip.
Ted Chiang writes with a scientific precision, explaining details with conceptual clarity, which pits the logical mind in a real place, while pursuing the consequences of an altered universe, through the lens of religious views, cultural mindsets, and the interweaving paths of human beings; a style epitomized in another work of his, “Tower of Babylon”.
I’ve only read a few of his stories thus far, although it is clear–after a long search for writing that stimulates both of my hemispheres, Ted Chiang operates with a unique outlook worthy of an audience for both ideas and emotions. He takes an elegant conceptual solution, and expands this framework with the powers of imagination, to explore its human contents, and presents it with the craft of a weaver, whose social role is also storyteller, and historian.
Did you ever consider that conjectures have implicit, deep human worlds? Personally, I love exploring the content of mathematical statements, but I’ve only taken these implicit forms to the extent of aesthetics, form–information containers. Perhaps I could take it further.

https://www.facebook.com/pages/The-Merchant-and-the-Alchemists-Gate/107783312576128

Definition is a Craft in Itself;

Life itself is not an apparition, by definition.
Performance is the primary apparition, by the function of social consciousness.
Every act of a performance is quintessentially liminal, at the edge of category, because every experience is unique by degrees (the logarithm) of complexity.
Thus, behavioral syntax, the unique interface between mind and environment, as a potentially unfiltered, still composed, output of life’s performance, naturally pushes the boundaries of categories.
It follows, we can define a scheme that adopts traditional categories of experience, yet supports the emergent, liminal quality of behavioral syntaxes.
This scheme is an extension of the zeroeth, and primary apparitions:
A hierarchical tree of categories approximates points in the liminal space, much like rational numbers approximate irrational numbers between natural integers.
This definition allows for the “counting” process to begin at any category, and proceed by layers of categorical prominence.
In contrast, a sophomoric interdisciplinary scheme of definition would formerly place the union of two behaviors at equal prominence; whereas, it is clear that two modes of behavior cannot average into a new activity, but one subsumes the other, becoming more nuanced. Hence, we derive a hierarchical scheme.

Of course, this method assumes we are dealing with a finite ontological scheme, a system of categories. From this point of view, the ontological scheme asks, what sort of behaviors are possible? Our own language, with Greek, Latin, and Germanic, among other roots, deals with a finite set of root categories from which to derive new words, and thus categorical schemes. On this basis, we prove the limitations of language in practice, solidifying our thesis of perpetual categorical approximation of raw experience. In this new sense, we speak of another level of approximation, first within a set categorical scheme, and then within all possible categorical schemes within our linguistic reach.

Here is the potential for behavior syntax to push, to pull as a gravitational force against categories, to break and force new organizations, reassessments of linguistic syntax. In my own case, it is not ironic that I write in a liminal fashion, because this activity simply denotes a close interplay between behaviors and linguistics. The act of writing, if I may use a well defined category, is both a deconstruction, and synthesis. In my own theoretical model, this performance of writing is an experiment in communication; since my original purpose was to contact John Wilson, after seeing him in person, whilst not being able to establish a communication. Because I am considering the effectiveness of my communication, while also synthesizing new ideas, and refining older ones, we can say this is an act of creation. What apparitions are at play? Philosophy, Art, Science?
Given your implicit recognition of this paralogistic process of definition, we choose that which is most relevant to the communication. For our purposes, we are expanding the reach of artistic practice; therefore, we may choose Philosophy, with a tertiary apparition Drawing, on the resources of Linguistics. A performance of philosophy, using the linear capacity for motion of drawing in neural circuits using the medium, or space of linguistic terms. This is a mere approximation, a representation. Definition is a craft in itself.

accumulate information[observe]; sieve particulars and distill impressions into essences[interpret]; forget everything; act on impulses of upwelling consciousness[create]; remember essences[contextualize];

nonagon_fractal_+4_star