Sunday, January 27, 2013
Generalization up to the Xn-brane
Generalization up to the Xt-brane
L. Edgar Otto Sunday, 27 January, 2013
The Xt-brane, Xt for Transcendental of values tachyonic and transcending from the generalization of the Omnium, treating the consistency of algebra as if a reduction to arithmetic, thus the information represented in decimal (which as theories of information would more clearly illustrate physics principles from binary system structures at the foundation) imagines a more unified plane dynamics for general space which as a universal and quasifinite system chooses coordinates as if a multiplicity of simpler dimensions as in configuration space (these dimensions determined by the quasic idea of generations), as with the quantum idea of the bracket formalism the representation that generates formulas, the pathways treat the irrational numbers as surreal. These in a sense hidden in the expression of what we regard as explicitly linear things but intelligibly related to the squaring of boundary information combining the signs and count, absolute or indefinite (nonnecessary) of the count of grid level elements (my epsilon-delta distinction here generalized thus to be loosely called hyperquasic).
I find some most interesting patterns beginning with the five fold hierarchy that seems innate to this unified idea of finite or infinite classes of space and numbers. Here we find the meeting where strict logic meets the wide clarity of mathematics in the design and symbolism of both systems.
I may post more as I develop this, but it does seem to verify some of my more intuitive yet confusions in this way of using the systems of the number line and other branches of thought and mathematics of which physics can be seen as the focus of all such ideas in this natural philosophy, should we want or feel the need to justify some ideas from a more foundational grounding.
Stradivari, the old Marxolin I photographed in the library yesterday with my usual symbol of the peacock for the third or quasic physics leaves open the question "Can God make a Stradivari without Stradivaris?" By all the Stradivari's I of course mean all the theoreticians, professional or independent in the pursuit of such life work. Note that the strings of this violin-ukelele hybrid are not in motion for they exist ideally in a linear flatland- but these can vibrate and can have standing waves with respect to general vibrating backgrounds. In gold the notes are lettered and the general construction of the number of them is of 4 fold into 4 fold things. This instrument used in the play Peter and the Wolf in the 1920's. Music has evolved since then but from a classical tempered scale sense although the notes are not necessarily fixed in the relative pitch of a spectrum.
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Footnote: An idea occurring to me at the writing even when the strings are not plucked in the issue of what is parallel to the fruitful question of the nature of that postulate of Euclid.
Can we identify G sub n as the three letters of a stance to the usual degrees of freedom in configuration space as not 6 but three as any point regardless of x and iy plane axes can have multipath intergration over tacyonic issues that overtly and hidden relate to the quantum world analogously. I mean can these coordinates be in the bicolor code as in CHL or for that matter the dualism of BDK or GIN... can we further use them to form systems of five color coordinates say CHL*(00) + null and double null, thence to relate by something like crossover or omnimirror inversion these two informationally negative to the other three in the 3 + 2 geometry... and so on. In any case we can simply represent these 0 or 1 binary in that it informationally breaks down what is qualitatively color and in effect where there is color forms a unified general color space.
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Vexilloid Design (Applications and the Search for New Principles):
I offer this as an example of design symmetry principles appled from the perspective of the Quasic plane. I do not know if the debate over the use of the golden ratio in art has been long time used as some assert historically as a sense of proportion but its use certainly evokes intelligible principles as if beautiful. Proportion is everything in this, another new realization of minimal design principles in the flag arts.
But for those whom have or will research my history of personal symbols (and this is a vague area that does not necessarily relate to my personal ego) the evolution is clear. In the use of the lions, a token to the old princes of the Ottonian empire, that merger of the Celtic and viking races it remain irredentiual as 8 for a symbol of the unity of family.
Moreover the red or white cross on white or red, for England or the European mainland, these symbols inverted, also a part of the feudal or tribal principalities of the polar populations.
In the use of symbols it is moderate and quasi-secular as to political or ideological directions. But in the progression of the Otto sign the cross and circle in circle sun sign was one if its first forms, meaning in particular our new satellites in the space age. I recall the formula, a rather descriptive one I drew one morning in Yarmouth by the North Sea in the sand so to describe the number of holes in the shells and stones washed up in on the shore while life forms were scarce in the cold winter near where Dickens wrote- and did he not write Prince Otto of Grunewald?
How do we avoid he symbols we come to associate with religions or ideologies or perhaps the collective archetypes and teleological memory of a people? In this sense my exercise in what I felt a pure art form suggests a transcendence as what may contribute to foundational science- definitely of an intelligible but still metaphysical nature.
This suggests a transcendental frontier of such unified theories of possibilities, creative ones, integrated over time and in the mirrors of time from many independent points of experience and paths of the given or evolving life work to which we follow and yet implement in the living. But if we allow that we may see the connection into the heart or mind of another, an extra-sensory like condition of human subjective interrelations, there is certainly a distinction possible to be made between the sea of singularities of individual selves and that of such collective seas and memories. These intelligibly quasifinite while the evolving.
In the general structure, archetypal or of stereotypes, a theory or attempt if we are in the creative solution of it between the many and the one, the quasic parallels of distinct or not necessarily so contiguity's and similarities,
we come again to these questions of the design of our inquiry systems as creative science and philosophy as to what if fantasy or speculative writing or not. But aside from that the individual and the collective possibility of it although we do not always have to be aware in the mundane living of the significance of such exotic views of space and time, is the source of the viability of fantasy. In this respect the internecine struggle between ideas can be seen as the moral equivalent of war, the idea to be valued as if life and death of organic things themselves. In the general view any effort of design, especially those unique by thinkers who at least try to explore things with questions and rationality, any life work that can properly be called this before the existential closure of the fact and facticity of it (to use Sartrean terms) it to be valued in its uniqueness and integration over time of which
it will be understood a crude and barbaric act to so destroy or ignore those aborted or marginalized from the spirit of our social experiments as a living, that is creative, philosophy of history.
The intellectual faculty of genius may depend on vague intuitive and transcendental creativity as surely as the material world or instinctual demands may impede it- although there is more to the world and its awakening than the dreams of philosophers and physicists if a life is free and wide- but while part of the possibilities, those who undertake the search for creativity in the face of wider resolutions to what can be attracted or repulsive yet can be interlinked into tighter quasifinite structures paradoxically, creativity does not go far into the coherence of our realities emphasizing the irrational as a source of art, or the stance as art in the viewer.
This faculty character in the true artist on the intuitionist level as much concerned with timeless futures as timeless pasts, mercifully or at a distance from himself does not always know the end or outcome while the searching or while the loving. Concrete then, the materialization of the girl of our dreams, if we can keep her... Sally or Susy it is not necessarily true that anyone will do to quote the cocaine song, as in such transcendent realms we value each other and ourselves. We are each royalty yet should not achieve arms against each other as sovereign, yet there is a lot not to ignore, even when the expression in the world is a mass of over duplication of the germ line that limits those in the line and of which it may fail eventually as poetical incestuous relations to merge states and empires short of war. Even the most liberal (in all its senses of liberty) among us seem to have an instinct or interest in their lineage. And most will embellish some story in conversation to another or unto themselves- the wise ones try to reason with what they are and themselves.
In these new vexillod principles in the general plane (and I should investigate this from the view of golden angles also) the display of flags have different senses and meanings when views or arranged with group changes of the horizontal and vertical, the obverse or inverse. The preferred y axis is not necessarily primary in this new case as the symmetry is transitive over all the plane. Yet the viewing may present difficulties in the symbolism if the generating picture is digital or analog in the way the moving illustrations are set up if we view it from some other angle than our own reference frame of familiarity. The symmetry on this level if there seems more unified from a possible viewing from regions outside and superimposed in the supersymmetry than simply the mapping onto complex disc regions.
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