Monday, February 25, 2013
Confluence XII & XIII Escape from Eden or Quasifinite Rationality
Confluence XII & XIII Escape from Eden or
L. Edgar Otto 24 February, 2013
What is computed within the span of our minds can be passed to the more awake world outside the mind- this the mediator intimate to symmetry, the interface between organic and mechanical real and illusion processes at singularity and in the indefinite space sea of singularities. This can be done explicitly in the concrete or from all general considerations implied by hidden structures in the vacuum.
But as we in a finite sense, the discrete and abstract idea of persistent points of an integer intuitive model, in respect to the concept of a continuum expressed linearly there is no clear or is a nonnecessary distinction between the inside and outside of such a coordinate crystalline group conception the random position and motion of things in theory could resolve to on many levels of recursion. Significantly, in the Top or Macro-cosmic view the conception at least can be seen as this quasifinite, thus discrete view- that is in matters of the large infinite cosmos we also may not distinguish inside from outside so to embody with certainty our place of observation as part of it.
We come to the horizon, the gates of Eden at the surface of what is the truth be it the changes toward what we feel or imagine or divine is the outside, the other that is all else in the indefinite state of the moment all that is not ourselves. (to the astute historian we may see a line from Bob Dylan on truths outside the gates of Eden as an influence, or the mystery of the moon calender and mythical creature of the East with its five clawed dragons or ten dimensional wings; of Leibniz and the understanding of the binary code of cycles of the I Ching which in the vertigo of clashing cultures and prophesy enhanced of ideas as intrusive species we initiate new bearings to explore eventually to build new technology such as computers on these inspired insights;
(as time progresses in the sense of an endless spiral of a loxodrome to some ideal end or beginning as the unity and breaking apart into chaos of all things to which we can number as if these are the totality of space the interval between all and nothing may not necessarily be distinct between zero and one in a quasifinite mapping for it is the spirals that have a vague difference between the finite spiral so close to the value of a logarithmic one in matters of self differentiation as if a crack between what can be or not be of systems that can be interchanged as not necessarily existing thus a grounding for what we observe as part of existence. So too how far we may go in applications of abstract and theoretical ideas by biasing the world to one focused method, organization to which the other side of the gate may seem empty or both sides upon our transition leaving ourselves as empty and pointless as either of them.
If we choose to personify, apply some idea by experience the influences and span of our consciousness, then theories like fictional characters or the art from a pile of junk as in weird Austin Texas, such a bias as if of concrete character the characters thus the story take on a life of their own.
So my understanding, half stumbled on by synchronous luck as my sons have an interest in jazz and saxophones- I once when with one to Appleton in the 40 below windchill to see one of the last of the greats- quite active for his advanced age, but living this long the world seems a small place at beginnings anyway, I have seen a few greats in music before or after their fame who passed on- so too some scientists- My mood of by understanding moved from what sort of group of ducks honking in the late night shift of jazz in the background to seeing the complete structural picture of such music of which it still remains empty save perhaps a fresh way to react to the music of our times- of words and jokes that lose meaning from one generation to the next or those who work again some classical direction, improvising simply in the practice of the new technique while questioning in two camps if these are pure if recorded, written down, or performed while the doing in the interplay of melody, harmony, and scale- the understanding brings the sense of value of the music into mechanical emptiness again to which we may despair of being or try again to reach outside ourselves.
Interestingly, the next morning a movie came on In the Line of Fire where the hero comes home to his apartment and puts the music on...I look up from my drawing for I recognized the particular tune- Miles Davis, and upon recognition it sounded good in context, perhaps the meaning of any music is the social context as well as the memory of the times that strives for each life and generation as unique.)
The movie was about assassinations and secret service games- a little more advanced in special effects- the simple books of the myth of James Bond became first rate movies from such an outline of beginnings which is more realistically contrasted in the inter workings of British Intelligence characters and bureaucrats in the books of John Le Carre as in Tinker, Taylor, Soldier, Spy...but I mention this because his work is so complex and distorted, well trained in the use of sentences and punctuation, each line rich yet clear- but would the effort to so write also lose things in the translation?
Is there not in the play the ancient archetypes and subjective models we may so interpret myths or form laws or rituals of survival that perhaps at a distance bids us journey to the exotic and fresh, the greener grass of some other place to which if we leave our Eden ejected out it sometimes evokes the longing to return so to enter there again, a little wiser perhaps of innocence and the unity of imagined perfection of what we did not know at the time our prison. Is it any different that we long to break out into new frontiers, escape with no truth in the promise of salvation or amnesty that a better world in this world is there as science offers us? Or do we always come back to the same old nonnecessary paradox of the mystery between existing, being and non-existing, non-being?
Would it help to write new music beyond this model of such vibrations and rhythms, symmetries and colors to raise the bar on inquiry so to keep the life of the mind interested again or in a wider view may we not ask what this solves in any age or fade of beliefs close to our disorientating look into foundations but the complexity of time added to our wisdom?
Somewhere at the foundations, historically and recurrently, our nursery rimes watered down to teach or warn our children, counting the daisy petals always close to some idea of growth in the large or small of quasifinite spiral differences to which the prime numbers hint of an almost ultimate pattern albeit half random- I mean she loves me loves me knot or counting buttons or beads what we in prophesy will become a the rising of the house of twelve sun signs, we tinkers, soldiers... beggar-man, thieves...
For at the beginning of the alphanumeric age it is often overlooked that the greatest physicists were not only earthy prophets as diviners but saw in the mix of letters as numbers the patterns that solved the singularities in our brains, even in in some wider sense of the random exceptions of mapping our world any sequence of such scribbles can find anything as we move the translation to choose the information from the mix. The finite numbers as well the imagined extensions outside them certainly are contained by such chance count of the unreasonable attempt to shore up all theories by the idea of symmetry alone.
We see or find from time to time such patterns, assured perhaps that the finite group always corresponds to its mirror of the infinite, in theory and proof at least. Recently, some number theorist found patterns (much like the insights of Ramanujan in the idea of continuity and calculus seen without the Eden of our proofs) of 24... This involves the usual quadratics and some rather large numbers and yet it is simple enough, even inevitable so far into the quasic view or other such directions in geometry and mathematics, it finds something about such lower numbers with ideal number structure and relation to negative and mirror symmetries as the inclusion in the count of what as a singularity or complex of singularities may be a finite number. Of course I stand at the horizon looking out beyond as if there is a beyond to see how real such a realm of a new Eden beyond that heave that even Cantor gave us that turns even the macrocosm into dust. Why then does the finite persist as all rather than not?
Is there in a sense a quasi-irrational model or set of some or all numbers or would this distinction not be needed in a higher theory of unified physics?
I must say that I hope to have one of Google's glasses that connects our sight and sound to the virtual internet with the access to information- a sort of interface between our processing supercomputer of our eyes and our brain- long ago from Sharper image something like this was for sale that sent images to the retina but it was bulky, even the battery was large so to have to carry it on a belt to the side- this was a brilliant new development of an earlier idea- I note that the logo for this, and it may be a coincidence, is Penrose's impossible triangle which of course concerns the optical illusions and as I too believe helps in our information processing. Again, I offer a crossed eyed illusion which perhaps already determined by more expert minds with the opportunity and insight that as we can see our imaginings into orientations in three space we can see a flat screen for in my sketch illustration one can see three levels of illusion depth.
The illustration of the flag involves the Fibonacci ratio of 13 and 21 as such to me are ratios of definite art and mathematical aesthetic importance (at least when the fad of it progresses to a new level or threshold of mysterious new horizon complexity). Just as the formulas for the beautiful patterns found by the number theorists involve the number 23 that relating to 69 is clear discretely as part of the formulas that in the end divide some things into thirds and justifies the study of what any number can reduced in steps involving the binary as more than a trivial computation, that the fourfold Otto symbols act as 56 stars an the remainder of the field is 193... the idea here of the utility of these simple integer ratios. Somewhere in this instar of wisdom the symmetry of the Monster group as 248 is simply reached as well that of our idea of how 26 fits into the mix.
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