The Errors of Neutral Intuitions, Intentions, and Insufficient Attention
L. Edgar Otto 11 March, 2012
In some ways the stereonomic structures of pyschodynamic theory has grounding in the logic and math behind the physics where these are on the frontier of relaxed interpretations in a quasi-finite universe.
Many systems of enquiry and proof contexts of logic and experiment are also close to the issues of philosophy where they meet the similar design systems of physics.
In the promised transition, and what appears to be a perennial error of our intuitions themselves that we can go beyond the era of the alphanumeric age, we still design higher level languages that persist as inherited in the local changes which give a challenging burden as if the learning of evolving languages that defeats a more universal view (which we can debate uniformly exists in any model) that will divide the universal yet practical peace and communications between the family of man.
Yet, before such a proposed theory the question of such directions remains vague and there only for the expediency that it is all we have to work with. Just as in a mechanistic and logical world what wins a chess game is he who does not make the last blunder, progress in the sciences in surprising contexts and places breaks through in the unpredictable masses by accidents of discovery.
The faculty of perceiving color seems to be a model for this general sense of hypothetical intuitions of that hidden or beyond our perceptions and imagination we feel exists because our imperfect and incomplete proofs of some things we intrinsically know may be there convince us because of existential errors, the coloring of truths from some step in the eventual proof that we missed. It does not help that this process can be deterministic and mechanical. Machines in their circuitry and programming can make such errors and to some extent, by some system design, use this idea to guarantee our simulations of the universe conform in the higher realm of problem solving to the reality of the modeling.
Traditionally, in philosophy, the faculty of color is given as an example of higher perceptions and questions as to what guarantees it from any different view, that the meaning and content of our dreams, in color or black and white, have general or just personal significance. But we can look down from a general view to see that color, the added hidden dimension, as a from of abstract space is as substantial as say our idea of virtual particles. Or the systems of particle theory, in an unconscious attempt to relate color to some form of physics as many times the concepts have deep connections as we sort the terms- spin, chromodynamics, and so on as a more complicated or generally understood metaphor of meaning.
The quasi-literal as well as the quasi-abstract reality. In view of a lack of a uniform color space, a clear use of the continuous for discrete frequencies as color is not completely defined by its position in a field we think of as gravity where that can influence the grain of the spectrum of change. A uniform phenomenon of color is at least as real as a uniform physics of particles.
In particular, and this so far is a neutral intuition so may be in error, can we not logically program a method of images that deal with color that can scale without the loss of information? Does this occur due to the designer, or the need for a particular system in its operation of ordering, or perhaps in the use of what we regard of our most advanced mathematics such as cosines and so on? As we appeal to the apparent limited source at say the microworld that enables by complex numbers amplification- exactly what would be be amplifying if the color space is scaleless? In a telescope or a microscope, or a collider, have we created new space and new substances or just scaled our own perceptions to the wider view?
The inference patterns and transparency of lines of color and the effects between them at distances where only two frequencies are needed to distinguish all hues in the spectrum or from black and white, or two adjacent colors scaled down we find we see another color - of we move the object over color space in transparency of so many discrete colors we see that the still view appears to vibrate. It is this and not necessarily the properties of a photon that we observe when we debate the quantum logic of slit inferences.
In our visual fields, usually a plane so we can see the simple linear logic in a more evolved context of navigating in a dimensional world, the same issues of what are the rules of arithmetic intelligibly work as with the symbols of algebra in formula as a language. If we have a theory of an abstract physical space it can be put into simple picture form and may be found so if we look hard enough or have better technology and systems. The art of painting logic is the art of reckoning also and it is the touch and sight definition of and at the foundation of geometry. Scientific logical proofs -, and this sets the direction of purpose and action too locally and globally, need also the artistic touch in these color sculptures at the frontiers of abstractions in the world that has got our less than perfect intellectual attention.
Now, I add that the arrangement of the mathematics and the assertion of steppingstone concepts into ideas of warps and knots. rings and braids, much like the wonderfully interwoven structure of our gene code and DNA, like the material code in the physicality can have a process of splicing just as we can with these organic molecules. We know that braids or wormholes can be connected at some beginning or ends or can be open there or can over all that is possible in our imagination, or these like many branes can be distinct but superimposed... but in a quasifinite and more relaxed universe we certainly can splice them together in our thoughts and intuitions and calculations, perhaps in a way where we have as theoreticians gone further than the natural evolution and mutations of sentience arising in life. But is it obvious that our models and design seems in a sense to evolve as do our abilities and intuitive spring cleaning and yet saving the truly essential and valued of our enquiries.
The creative soul with the quill still in his hand, no matter what the medium or his color box and limit of his pallet, the canvass and blank and neutral page is always near and never that far away.
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