Saturday, December 5, 2009

The Self Referential Creative Universe

"The hermit crab depends on its shell to survive and cling to the world as do we for growth and understanding. But in growth and transition to new homes the hermit crab is the most vulnerable. Still, we should not let our imaginations confine thus entrap us." L. Edgar Otto on facebook today, note the symbol for crab as 69 and the frames in the artwork above are courtesy of

The Self Referential Complete and Redundant Universe

Leonard Edgar Otto

Yet the focused geometry between regions of multiverse can appear a complete totality wherein the apparent vacuum of the "creation field" is dynamic to the phenomenal totality.

The mechanism where it is entangled with such totality can be interpreted as self-creation of evolving spaces and elements. the gross metaphors of axes, the varieties of motion, momentum and spin on any relevant and relative scale becomes classically concrete.

The symmetrical processes, equations that weave and contribute to the observed general unity of space has thus and intrinsic irreversibility and asymmetry which guarantees in eternally everlasting states of totality that within it a system that can be said to progress and evolve.

Moreover, we can imagine an analog to time, entropy, energy as ersatz concretely evolving focus, an eka-entropy or irreversible result of motion as the particle of these crude general definitions for the design and discipline of a physics.

This can philosophically be interpreted as "will" or "force" and in any such system complex enough and with dimension enough a game will play itself through unifying wide local concrete decisions with variations.

The mechanism is this universe of "creative physics" and over some apparently bounded interval of ambiguously equivalent transfinite dimension we have the intelligible expressed (as if expanding unto the transfinite dimensions)design of the "improvised infinite" of choices self-defined.

On the psychological level, of consciousness and sentient experience where it survives whilst the music, a level that may be or appear a lesser or greater disembodied spirit or spirits- as individually organized or not in a chaotic sea of chance, or that such things exist as real or as interpretations only- or that these may in a sense be a different or higher self-referential self-creation of some enduring quasi-finite span, the self-reference frame:

The metaphor of spirits, ghosts, angels, aliens- the otherworldly and supernatural which guarantees the perception of the concrete without an ultimate completion of the day as method allowing adaptability - that which does not address teleology even as implied in anti- or a- teleology, a frontier of imagination of sorts, will tend to set the mental mode (perhaps unnaturally where philosophies meet)into polarized and by default complementary extremes glorifying some system as mechanistic metaphysical dogma or scientific chaos as the state and explanation of things observed and uncreated.

Still, these perhaps lesser, psychological (intellectual and emotional)evolving systems as if quasi-symmetric mirrored systems suggest not just some degree of awareness of that external or internal to general systems. For example, to write here in metaphor of this already difficult posting, if in the chaos of learning, exploration. wishes and story telling, ignorance, such spirits or aliens exist, in the eschatology and gesalt of our songs we accept as rational- where these are projections of our natural and human attributes, we may find in our mechanistic power of science that we have evolved to become and are the robots and they existing or not are the pointless powerful yet virtual phantoms.

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