Riding the Light

Riding the Light L. Edgar Otto September 16, 2011

Poetry is as fragile as our coming back from walking into the light or in the dark, that theme of Ferlinghetti that all poetry is about the cosmos. While in our confused perceptions we also find Bly, that all poetry is about the tragic loss of Love.

Einstein dreamed he rode the light and looked outward, constant his tightrope in his casual walks in contemplation.

We can dream of riding the light, or ride the light of our dreams.

He, perched on that frozen time he judged the thoughts, in his spacious now did not see the further sunrise or sunset confused- that in the multiverse he was there too or in his centered world did not believe the copies of himself or that we could jump through time, nor that inside the dust and himself some flow concrete with history nor the primacy of chaos in the microworld.

The dust just falls free as does the light into the wells of warp space. For he did not believe the moon not there when he was not seeing it- nor from afar in light outside his lonely milky way some things were seen or not- trapped in his race or in his God.

The equations of energy replaced special creation in a blur of fixed reason falling back into poetry the stuff of work, of slaves and the revolt of slaves and others who were outside the pale vanished beyond simultaneity.

So nothing is really conserved in the outreaches, the remote cosmos and beginnings short of the chaos in cosmology that we finding a lack infer the dust must be there.

We are artist using our palette of our choice of colors, encountered and perceived and we do not ride the light as much as ride the colors. Although black and gold make green, to add black and white, mix them for brighter or darker hues is to risk irreversible murky milkiness.

There are colors I can but almost see so sense a loss, the bee violet catastrophes and fleeting time I cannot measure or grasp even in the times of growing, aging pains that find and contains me. My life earthbound more while the stars grow further from my reach.

We can be color blind for the light is invisible save in reflection riding the black and white itself seen in the dust likewise invisible.

Meanwhile, Feymann dreams he is a small electron grounded in his quantum lattice and in the main taking cubit measure of the micro holy New Jerusalem of hidden variables within, doubting whats beneath the four corners inside pearlescent portals, gates. He floats like a germ dancing as I try to focus my microscope bombarded by the dancing molecules of water in his Brownian motion diffusing his quasi-determinate paths at the square root of the time.

We ride the chirality this side of nothingness or some Heaven where God unlike my mortal self has more than right and left of hands.

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There seems to be no end of novel ways at looking at these structures, color coded or not - that is we can expand on them or simplify them as if there were no gray groups or coloration while color helps to enumerate and imagine combinatorial possibilities and global space structures I feel this does more efficiently than the long search by other methods. The above is busy work really in the diagrams- I did not include the interesting and promising ones of an edge centered projection of the tesseract. It seems that on one hand the exploring of such spaces is not as complex as some may think facing something like how many ways can you color the edges of a cube with 12 colors, we can see much further into such complications than some have seemed to feel it a hopeless and time consuming thing to do. It is hard also to take the very poetic stances, intuitive productive naive attempts with likely dead ends when we have resolved our views more formally of the cosmos.

I had the thought, scribbled on the back of a previous page- that some of these shadow thoughts of things beyond the unfolded or enfolded hypercubes as if real entities that somehow relate to our ideas of a unique perspective centering and of the fact of the flow of time, the metaphysics of it, the soul in the capacity to do work where for many God begins with the idea of gravity or energy as the deepest concept (see Lubos recent posts and my comments on TGD diary to Ulla lately, the Lithium post this not repeated here but influential on the above narrative poem)- that such ideas of structure, momentum, attempt to measure mass or energy, return perhaps to the idea of heat as some sort of substance and that conserved- (it would be more instructive by the way for Lubos to have shown the work on which we interpret the basis for any such conservation laws, but this too repeats rather advance general knowledge.) In these problems of time over a certain finite range it is clear that in the world of probability that Bayesian ideas, as advocated by Lubos who does evaluate and can modify his stances, has its solid grounding.

Also on my mind for this poem was the square of two aperture as the leakage of a black body sphere of radiation- the fact that metabolism is the 4th root of the volume of an organism- that Brownian motion expands at the square root of the time- simple things looked at foundation-ally again- and if from a general view we ride the light (one might conclude it has to have a certain minuscule mass, all leptons) then the square root of zero is zero in the hierarchy of action so it squared would of course suggest the differences energetically, temporally, and thus with frequency of the mass- energy ratio - quite besides the n-differentials and complex number twists and turns.

I come again to my spinning spiral and he great short wave radio magnet that wound up, thinking it comes from the motion of atoms itself- or what happens when we reach absolute zero can the electrons slow down- or does the light get white and hotter? (early childhood thoughts of which we first see the world and think about it and are interested to recall I suppose) But on the sci mags today they are trying to take the energy from small vibrations such as walking or cars on a bridge- or in the case of my spiral no doubt it came from the stray electric waves all around me.

My view of late has seen the applying of geometry in a way that I think many have seen it all along- and it takes time outside of the formal pursuit in academia to know there was something there useful and I needed and maybe still need if I am to continue such explorations. Certainly these formalisms invoke the forms Kea has promoted when I see the color cubes arise say as 14 or 7. I need to internalize better what her concepts are. For now it seems the skeleton of the mathematics of physics in general is but a suggestion for the wider muscles and nerves in an intelligible and still mysterious and poetic cloud that surrounds our theory's as but outlines, pointers, indicators changed by the indicating, to that we are not sure in the anomalies left in the physics of our day, we can obtain that pointed to.

But whatever the nature of the cloud, field, or what we move in of our notions, be it mechanical and material or poetic and mystery of an unspeakable names in a world of creation by names- that is the bulk of what makes up our own ultimate and absolutely existing physicality.

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Here is where I grew tired of the drawing by hand- the idea is to find the inversions in some order so that a better relation of the colors and cubes in alphanumeric three space of the many possibilities would be more useful for those who may memorize the notation. I did not include the exotic symbols used to pair them regardless of what color in various permutations is substituted for which- and this arrangement of cubes or jacks as physical models could be useful in the solving of the best arrangements of connecting the same color faces. Maybe a computer program could make short work of this.

I also thought that if the slice of a cube is a valid analog (the black and white and he six colors in three space for four space) these would make an interesting set of transparent cubes of which we imagine the unfolding as more generally of the 8 objects that can take on all he shapes of some adjacent cubes- keeping in mind the idea of pairs and the inversions between them (duality) it seems to me that these can form a 2 x 2 x 2 cube in three space that no slice color touches another- still, we may want to investigate what happens if we use the diagonal slices.

Of all the arrangements we have to start somewhere, choose the better notations, and what sort of color spectrum we may want to apply- perhaps it would be better to base the colors more on those now recognized by the computer use of colors. In the darker light it was still hard not to confuse orange and red or cyan and green as we feel we know of such things. Let me also say we should keep in mind for artistic purposes Goethe's observation of the relative balance of primary subtractive colors such that about even the orange and blue while say a lot of violet balances the lesser yellow. And of course the search for intelligible compliments and the saturation and middle values of the hues if we can sort thru the spectrum and the dimensions and find we can have a uniform color space at least for our compass of perception.

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