Showing posts with label Arthur Young. Show all posts
Showing posts with label Arthur Young. Show all posts

Wednesday, July 03, 2013

Consciousness, as a Biophotonic System

The structure of optical radiation emitted by the samples of loach fish eggs is studied. It was found earlier that such radiation perform the communications between distant samples, which result in the synchronization of their development. The photon radiation in form of short quasi-periodic bursts was observed for fish and frog eggs, hence the communication mechanism can be similar to the exchange of binary encoded data in the computer nets via the noisy channels. The data analysis of fish egg radiation demonstrates that in this case the information encoding is similar to the digit to time analogue algorithm. Photonic Communications and Information Encoding in Biological Systems
Of course there is some difficulty by assigning life in human form as an assumption of coordinating a life form system based entirely on computerized processes. But at the same time, there has been this struggle with coordinating the idea behind color of gravity and sonification maturation with the basis of understanding the emotive system as part of the communicating system of our experience.

 The term biophotonics denotes a combination of biology and photonics, with photonics being the science and technology of generation, manipulation, and detection of photons, quantum units of light. Photonics is related to electronics and photons.Photons play a central role in information technologies such as fiber optics the way electrons do in electronics.

So definitely,  I would want some physical process that would emulate the sensitivity with which any detector would be present in the determination of those emotions present in the system at any time during any experience.

Nobody is quite sure how cells produce biophotons but the latest thinking is that various molecular processes can emit photons and that these are transported to the cell surface by energy carying excitons. A similar process carries the energy from photons across giant protein matrices during photosynthesis. Biophoton Communication: Can Cells Talk Using Light?

The very topic(biophotonics) while verging on the one side of mysticism, it begs for sensor development processes that would delve deeper into our psychological makeup and physiological processes,  to bring understanding to the human form and endocrine system as a messenger conduit for such communications?

So of course there are many difficulties in recognizing that consciousness itself would speak too, The Photon and Emergence, suffice it is to say that, consciousness could include emotive forces that are derived from such biophoton messengers that help to define the experience?  So this in a way is a starting point for me about what such science may reveal, that we could say such psychological experiences have definitive facets in the spectrum of observation that we are not currently cataloging?

TEDx Brussels 2010 - Stuart Hameroff - Do we have a quantum Soul?

Sunday, November 04, 2012

Developement of Emotion Sensor Technology

Professor Rosalind W. Picard, ScD is founder and director of the Affective Computing research group at the MIT Media Lab, co-director of the Things That Think consortium, and leader of the new and growing Autism & Communication Technology Initiative at MIT. In April 2009 she co-founded Affectiva, Inc., where she serves as chairman and chief scientist.

You have to understand we use matter defined things in order to measure how the brain can manifest certain rythmns to establish correlated focus.  Focus levels not just found in sleep time,  which can be experience in the day time as well?
Sensor development,  helps to direct attention as to how emotion is demonstrated? Skin Conductance while demonstrate to be measured in one sense ...I might say that the response in the psychological and physiological consideration may be seen as if the MRI would showing the neurons.... how else would this be measured that does not smack of the auras that one would quickly jump too in thought?
Skin conductance response in regular subjects differs when given fair and unfair offers, respectively. However, psychopaths have been shown to have no difference in skin conductance between fair and unfair offers.[2] This may indicate that the use of lie detectors relying on skin conductivity gives psychopaths an advantage that non-psychopaths do not have in criminal investigations.

The quest for me understanding the method by which discussion evolved with Seth was of interest in regard to EU(emotional units) and UC(units of consciousness). This detailed to me the need for a foundation understanding of how consciousness worked. It's emergent functionality with expression and remembrance. This is also where Karim Nader comes into the picture.

How would one measure focus levels and share some understanding toward that foundation approach? Gravity? How would one picture a cloud around biological demonstration of consciousness and one could have venture off into the occult. So focus levels become a correspondence to brain wave considerations?

Also the problem with identifying innateness as a parameter given to this life only and the evolutionary course of the souls expression.

Also for consideration:The Synapse of the Wondering Mind and Mirror Neurons

"Your BS( belief structure) dictates the frame of reference established for your experience"....not just of the near death question,  but life in general? Maybe this is a postulate in itself that can be expanded on? Taken to a irreducible summation then maybe we can go from there?

The only way the reference frame can be changed for an individual is if it is somehow knocked out of its loop. Paradigmatic changes as if concerted require revolutions of course and the idea that observations can play a role is a self indicating permission to individuals to allow themself to move away from what is holding the mind to its continuous loop.

Often the outlook on life changes and it does not again need the NDE experience just to show this is a natural function of "aha" moments and realizations that allow one to expand that potential to see life differently then they always have.

See for example: Fractals and Antennas and The Economy

Fractal Antenna Example

You know the opposition to speaking about things that require a greater perception has been lost in the fact that I have to keep pushing one to realize how absurd the examples are of when you try to sound as if you have it in the bag so to speak. It is just as bad as the perception you keep creating with your smoke, magic, and mirrors. As bad as securing oneself in the fact that what is spoken by the "Great Shermer" will help you as a seated perspective about the grasp you have on reality.

The point about Benoit  and Taleb is to show how perception when not used to its full potential fails to see how the basis of perception has emergent properties that affect the paradigmatic frame of reference that one has always held too. With all this talk now I have made comparisons that regardless of the subject show components of what is natural in consciousness as to see that birth and death are really natural things held within our perspectives.

How would you deny the experience of an NDEr in another when this experience resides in oneself as well?

See Also:

Wednesday, May 11, 2005

Visualization: Changing Perspective

I give some perspective on "image use and artistic expression." But such journeys are not limited to the "ideas of a book" or "a painting" in some form of geometric code.

Some will remember Salvador Dali picture I posted. I thought it okay, to see beyond with words, or how one might see a painting and it's contribution to thoughts. Thoughts about a higher dimensional world that is being explained in ways, that we do not generally think about.

So while it is not mysterious, there is some thought given to the ideas of moving within non-euclidean realms. In the one hand, "discrete forms" have us look at how such a model in terms of quantum gravity is built, and these images and paintings, accordingly?

Arthur Miller
Miller has since moved away from conventional history of science, having become interested in visual imagery through reading the German-language papers of Einstein, Heisenberg and Schrödinger - "people who were concerned with visualization and visualizability". Philosophy was an integral part of the German school system in the early 1900s, Miller explains, and German school pupils were thoroughly trained in the philosophy of Immanuel Kant.

Click on image for a larger view

On page 65 of Hyperspace by Michio Kaku, he writes, "Picasso's paintings are a splendid example, showing a clear rejection of the perspective, with woman's faces viewed from several angles. Instead of a single point of view, Picasso's paintings show multiple perspectives, as though they were painted by someone from the fourth dimension, able to see all perspectives simultaneous

Talk of the Nation, August 20, 2004 · How did Leonardo da Vinci use math to influence the way we see the Mona Lisa? And how does our visual system affect our perception of that, and other, works of art? A look at math, biology and the science of viewing art.

This idea of dimension seemed an appropriate response to what I see in the Monte Carlo effect. I mean here we are trying to dewscibe what dimenison might mean in terms of a gravity issue. Is there any relevance?

What are Surfaces and Membranes?

Surfaces are everywhere: the computer screen in front of you has a smooth surface; we walk on the surface of the earth; and people have even walked on the surface of the moon.

By surface we mean something 2 dimensional (*). Clearly objects like a coffee cup or a pencil are 3 dimensional but their edges - their surfaces - are 2 dimensional. We can put this another way by seeing that the surface has no thickness - it is just the places where the coffee cup ends and the air or coffee begins.

Surfaces can be flat, like a table top, or curved like the surface of a football, a balloon or a soap bubble. The surface of water can be either flat without ripples, or curved when it has ripples or waves on it.

We use the word membrane to mean a sheet-like 2 dimensional object, an object with area but very little or no thickness. Good examples are sheets of paper or a piece of plastic food wrap. Just like surfaces, membranes can be flat or curved; rough or smooth.

Quantum Gravity Simulation

P. Picasso
Portrait of Ambrose Vollard (1910)
M. Duchamp
Nude Descending a Staircase, No. 2 (1912)
J. Metzinger
Le Gouter/Teatime (1911)

The appearance of figures in cubist art --- which are often viewed from several direction simultaneously --- has been linked to ideas concerning extra dimensions:


Cubist Art: Picasso's painting 'Portrait of Dora Maar'

Cubist art revolted against the restrictions that perspective imposed. Picasso's art shows a clear rejection of the perspective, with women's faces viewed simultaneously from several angles. Picasso's paintings show multiple perspectives, as though they were painted by someone from the 4th dimension, able to see all perspectives simultaneously.

Art Mirrors Physics Mirrors Art, by Stephen G. Brush

The French mathematician Henri Poincaré provided inspiration for both Einstein and Picasso. Einstein read Poincaré's Science and Hypothesis (French edition 1902, German translation 1904) and discussed it with his friends in Bern. He might also have read Poincaré's 1898 article on the measurement of time, in which the synchronization of clocks was discussed--a topic of professional interest to Einstein as a patent examiner. Picasso learned about Science and Hypothesis indirectly through Maurice Princet, an insurance actuary who explained the new geometry to Picasso and his friends in Paris. At that time there was considerable popular fascination with the idea of a fourth spatial dimension, thought by some to be the home of spirits, conceived by others as an "astral plane" where one can see all sides of an object at once. The British novelist H. G. Wells caused a sensation with his book The Time Machine (1895, French translation in a popular magazine 1898-99), where the fourth dimension was time, not space.

Piece Depicts the Cycle of Birth, Life, and Death-Origin, Indentity, and Destiny by Gabriele Veneziano

The Myth of the Beginning of Time

The new willingness to consider what might have happened before the big bang is the latest swing of an intellectual pendulum that has rocked back and forth for millenia. In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined with a grand set of concerns, one famously encapsulated in a 1897 painting by Paul Gauguin: D'ou venons? Que sommes-nous? Ou allons-nous? Scientific America, The Time before Time, May 2004

Sister Wendy's American Masterpieces"

"This is Gauguin's ultimate masterpiece - if all the Gauguins in the world, except one, were to be evaporated (perish the thought!), this would be the one to preserve. He claimed that he did not think of the long title until the work was finished, but he is known to have been creative with the truth. The picture is so superbly organized into three "scoops" - a circle to right and to left, and a great oval in the center - that I cannot but believe he had his questions in mind from the start. I am often tempted to forget that these are questions, and to think that he is suggesting answers, but there are no answers here; there are three fundamental questions, posed visually.

"On the right (Where do we come from?), we see the baby, and three young women - those who are closest to that eternal mystery. In the center, Gauguin meditates on what we are. Here are two women, talking about destiny (or so he described them), a man looking puzzled and half-aggressive, and in the middle, a youth plucking the fruit of experience. This has nothing to do, I feel sure, with the Garden of Eden; it is humanity's innocent and natural desire to live and to search for more life. A child eats the fruit, overlooked by the remote presence of an idol - emblem of our need for the spiritual. There are women (one mysteriously curled up into a shell), and there are animals with whom we share the world: a goat, a cat, and kittens. In the final section (Where are we going?), a beautiful young woman broods, and an old woman prepares to die. Her pallor and gray hair tell us so, but the message is underscored by the presence of a strange white bird. I once described it as "a mutated puffin," and I do not think I can do better. It is Gauguin's symbol of the afterlife, of the unknown (just as the dog, on the far right, is his symbol of himself).

"All this is set in a paradise of tropical beauty: the Tahiti of sunlight, freedom, and color that Gauguin left everything to find. A little river runs through the woods, and behind it is a great slash of brilliant blue sea, with the misty mountains of another island rising beyond Gauguin wanted to make it absolutely clear that this picture was his testament. He seems to have concocted a story that, being ill and unappreciated (that part was true enough), he determined on suicide - the great refusal. He wrote to a friend, describing his journey into the mountains with arsenic. Then he found himself still alive, and returned to paint more masterworks. It is sad that so great an artist felt he needed to manufacture a ploy to get people to appreciate his work. I wish he could see us now, looking with awe at this supreme painting.

Wednesday, May 04, 2005

Developing Character in Rhetoric and Composition

Francis Bacon (1561 - 1626)
-----although not a rhetorician, contributed to the field in his writings. One of the concerns of the age was to find a suitable style for the discussion of scientific topics, which needed above all a clear exposition of facts and arguments, rather than the ornate style favored at the time. Bacon in his The Advancement of Learning criticized those who are preoccupied with style rather than "the weight of matter, worth of subject, soundness of argument, life of invention, or depth of judgment." On matters of style, he proposed that the style conform to the subject matter and to the audience, that simple words be employed whenever possible, and that the style should be agreeable.

Heck I am still learning. But if I only said what you wanted to hear, then would you have heard anything different? :) You try and incorporate the logic into the statement? Here in this case, there is no arguement, because the logic can not be further reduced?

Word Play

Word play is a literary technique in which the nature of the words used themselves become part of the subject of the work. Puns, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, and telling character names are common examples of word play.

All writers engage in word play to some extent, but certain writers are particularly adept or committed to word play. Shakespeare was a noted punster. James Joyce, whose Ulysses, and even more so, his Finnegans Wake, are filled with brilliant writing and brilliant word play is another noted word-player. For example, Joyce's phrase "they were yung and easily freudened" clearly conveys the meaning "young and easily frightened", but it also makes puns on the names of two famous psychoanalysts, Jung and Freud.

But here is another context of character masking that was revealled? Thinking about Francis Bacon, that one wonders, who was Shakespeare?

THE SHAKESPEARE/BACON CONTROVERSYFAUSTIN BRAY: Do you think that academia will eventually recognize this?

Who Is Arthur Young

We know well that some writers take pen names before they become established? Or hide amidst the current dealings of society. To not call attention to their positions in life, while they strive to delve into the deeper meanings or hide a message for others?:)

I learnt this early, to not complicate life, while I could have free roam, to delve into all aspects of our human natures. Struggle for, the ideals that we develope in life. Rote systemic appearances constituted from our early histories, as well shape our perceptions of society. I knew well, that if we think a certain way, whether we like it or not, we desemminate thoses principals into society, how ever it materialized, might be perceived in different ways.

So can we be artistic about it? I am, in choosing my characters becuase I saw in rhetoric and dialogue, past performaces by independant scientific researchers, this incination to go back in time, and then move forward.

Plato's cave might have seem ole fashion and constantly wornout and used, but in the scientific mind of Gerard Hooft, and his explanation of Holographical design, he wanted to push other minds to consider?

And one in which I like to consider, that a three dimensional frame work, can be arrived at from higher perception abilities. In science, four dimensional characteristics here would have understood dynamcial feature to the nature of reality, yet pinning it down to coordinates, it becomes realizstic in our minds, as a object of perception.

Heisenberg made similar use of such inclination for historical reference. His uncertainty in movement became interesting references, once we assumed a position?:)

This logic has underpinnings in how we see what can be consittuted in life. How we choose to display our positions with clarity.

That we should then find ourselves engaged because of the inhernet dialogue and espressions between each other on the internet, then we know that progression and learning, the desire, and not flaws of character dispositon should reign.

But now onto some more references for consideration here to help people digest, what could have ever arrive in our coordinated frames of reference. That we saw, other means to arrive at this conclusion. One of these means, is a Calormetric view? I use this while I think about the space between the earth and the sun. While looking at insightful ways to generate more possiblities, in the minds, that are resistant to change.

Standard particle reductionist methods have detailed how we shall see these energy considerations. So to apply a global perspectve to energy valuations, we are left to consider simpler model reductionist figures here in our talks, about climate change? Visions of non-euclidean world that few will take hold of in our consverstions. etc.

Resistance to character, should be statistics or better information?

See also,
  • Rhetoric and Composition