Polyschematics (Color Pair Nuclear Principle)

Polyschematics (Color Pair Nuclear Principle)

Eventually, and my roommate got the gist of this principle and reminded me of some idea I said to him a few years back- so the view is understandable, even without a formal procedure that would make my investigation of these color cube symmetries a lot easier to study, I find what is needed to develop the mathematics involved.

Recently then I have looked at the four dimensional case and tried to make some sense of it- and using the other term for polytopes, polyschemes I want to distinguish the idea from our usual notions of multi-dimensional symmetry.

In the above illustration of the light inside a house at night, the somewhat hidden symmetries to which the structure of atoms evolve in the background of possibilities I include an artist's sphere covered with hands- for the issue is also this cloaking aspect of chirality- lasers slowing down the atoms as if gamma rays also have the hidden neutrino generation effects that can cut through the natural physis cosmic code like splices in genetic engineering finding some relative stance of rest or being a catalyst to the stellar production of the elements. New Scientist has an article somewhat about this as to perhaps the proton being smaller than we thought- but the general scheme is closer to my model of an atom from a topological stance and as a matter of more discrete but not just quantum physics.

Polyschematic Principle : A nuclear structure is discretely quasized over the 4D continuous atomic field by pairs of color elements (nucleons?) that the 2 x 2 and 3 +1 formalisms both apply. As such the dual of the 120 cell in the nucleus is the 600 cell background, those cells being the general over group of tetrahedra in a quasic grid. In the nucleus the literal bounding structure, a flanged down shadow as concrete, dimensions as nature may and does "see" them is the internal intelligible coherence of volume containing volume projective centers including organic code analogs in a cell nucleus.

In this sense in hyperspace the duality is analogous to the gin and LHC elements of the 3 + 1 three space formalism as a labeling notation.

This principle also applies to the Hydrogen to Helium ration for structures of the first stellar matter and continues to be a principle of star birth and evolving atoms.

But the "generational" aspect of it all (varieties of neutrinos and their oscillations) is a matter of binary informational structure encoding like the difference between the first and last half of the 120 elements as mirror like right or left or right and non-right symmetries (in relation to the concept of color in the string sense and of charge.)

Writing is also a place of such global mental activity involing choices of chirality as in yesterdays new scientist article on the place of learning letters and the reversed confused letters in parts of the brain (and presumably the notions that arise from this mechanism). As such it symbolizes a materially intelligible structure and a sorting of directionality in the uncertainty of an evolving system.

Simply, I vaguely assert in the arithmetical view, in the 8 x 8 grid viewed quasically in three space the 15 squared - 15 divided by 2 = 105 as the significant number, that is 105 + the 15 cubes = 120; that is 63 x 7 x 25 is 21 squared times 5 squared has a four space nuclear dual polytope analog (and so on I imagine generalized to even higher dimensions) to 21 squared - 21 divided by 2 and that divided by 6 x 49 to give 600 as the significant number. Thus the implied effects of the polyscheme may have physical significance in the quasic unified space.

In looking at the axial notations of yesterday I also imagined the assortment of the 16 elements of four axes as not just 8 hypercubes analogous to the 8 of mahoon, but the sixteen with the 32 line elements so labeled with four directions of the planes that intersect thru the volume centered hypercube edges. There is a great deal of work and calculations to be done here but I feel this view, an alternative view and intelligible in design thus a creative view, as essentially and intuitively right.