Showing posts with label Synesthesia. Show all posts
Showing posts with label Synesthesia. Show all posts

Wednesday, October 24, 2007

Euclidean Geometry and the Shadows

Just as some prisoners may escape out into the sun, so may some people amass knowledge and ascend into the light of true reality.The Holographic Principle and M-theory


I am always interested in "the flavour history" gives as we look back in time. If one always looked to the past as they looked at the cosmos what will become of the future? This has be stereotypically been instilled in our humanities thinking. That there is a brighter light that shines and all it's shadows cast are of some "truer reality" then the one that is now.

LIC(Long Island City) Gnomon Header above.

Of course it would not be without understanding certain things about "Plato's character" that I should show how we can deposit "these historical packets of energy" in that history. That it is deeply entrenched in "current sociological thinking" as we make our way through the days of our existence. A kind of "collective unconscious."



As archiac as this "method of measure" may seem, it has captured our fascination in more ways then one.

Plato's cave?

You tend to get this consistency of "historical thought" once one sees the connection?:)Euclid

How could one not perceive geometry at work after seeing what the sun can do in regards to these calendars?

One could of course propose the Egyptian new year, where the dead are placed, in relation to the pyramid, and the design of that history according to the clock, but then ,it may be in contradiction to what is current.

Even more ancient, the Medicine Wheels.




So looking at the blog entry of Stefan of Backreaction, and "Bee's mathematical universe," I would say these are "deeply connected with each other" that I would have to indeed say something.

I see Bee beat me too it.

Q9:"People see all sorts of things when they look at the SUN and Solar Calendars"

Time and how one views the cosmos for sure.

Capturing the understanding of Hooft, Heisenberg and others, you see Stefan working the principals "outside of himself" with his environment. Inside the universe.

Like, how one can "view the cosmos" or how "dimensionality is reduced to the now."

The evidence of "the beginning" is not gone?

The shadows reveal this, and so it reveals the mathematics of this universe.

Or, how the matter of the diamond has it's structure implanted in the mapping of it's features?

Yet, "the mapping" is closer to the beginning, then, the matter is of itself. :)



I expound further in Shadow Dancing in the Light and "The Artist In Us All"

Friday, March 23, 2007

Lingua Cosmica

It looks as though primes tend to concentrate in certain curves that swoop away to the northwest and southwest, like the curve marked by the blue arrow. (The numbers on that curve are of the form x(x+1) + 41, the famous prime-generating formula discovered by Euler in 1774.). See more info on Mersenne Prime.

I always find it interesting that the ability of the mind to do it's gymnastics, had to have some "background information" with which we could assign "the acrobatics of thinking" to special sequences. Thus create some commonality of exchange.

Might we think the computerized world will give us an "human emotive side of being."

See here for Against Symmetry explanation.

So born from it's "original position" what asymmetry was produced to have the universe have it's special way with which it will deal with it's inhabitants? Any "point source" has a greater potential and from a "perfect symmetry" you had to know where this existed?

Lee Smolin will then lead you away from perfect symmetry and explain why?

G -> H -> ... -> SU(3) x SU(2) x U(1) -> SU(3) x U(1)

Here, each arrow represents a symmetry breaking phase transition where matter changes form and the groups - G, H, SU(3), etc. - represent the different types of matter, specifically the symmetries that the matter exhibits and they are associated with the different fundamental forces of nature


So why not think for a minute that if you had "crossed wires" how might you see the world and think, how strange a Synesthesist to have such "emotive reactions instantaneously" bring forth perceived coloured responses. Colours perhaps, as diverse as the Colour of Gravity?

How much of a joke shall I play with peoples minds to think the choice of the observer has consequences? That those consequences are indeed coloured. If this is to much for you, and you say, "oh what a flowery pot I am with such a proposal," then think about "the concept" being used.

The struggle for the emotive language to be explained to the everyday person, as if, the Synesthesist was being simple in their explanation? A "one inch" equation perhaps? They should be so lucky that they could explain themself while they toy with the world and try and make sense of it. That is how different it can be in finding some result of clarification.

That is how foreign I would lead you to believe, that if I wish to communicate, that any language developed, was speaking directly to the source of all expressions, as if they had a geometrical explanation to it. Use of Riemann is understood i this way. It did not divorce him from his teacher, but added vitality tthe way in which we seen Gaussian Arcs and all.

The Magic Square

Hans_Freudenthal

Hans Freudenthal (September 17, 1905 – October 13, 1990) was a Dutch mathematician born in Luckenwalde in Germany into a Jewish family. He made substantial contributions to algebraic topology and also took an interest in literature, philosophy, history and mathematics education.


I had to think sometimes that what was common knowledge can sometimes be wrapped in up the language we use. So imagine for a time that you will go out and change the way we see the world and add this particular model of String theory just to confuse the heck out of us all.

Lincos

Lincos (an abbreviation of the Latin phrase lingua cosmica) is an artificial language first described in 1960 by Dr. Hans Freudenthal and described in his book Lincos: Design of a Language for Cosmic Intercourse, Part 1. It is a language designed to be understandable by any possible intelligent extraterrestrial life form, for use in interstellar radio transmissions.


Do you want to take the time and consult with the aliens we have on this earth? :) Now surely you know I jest, because of the way in which this model asks a us to look at the world. What use you say?

Please don't confuse this language adaptation to the "ignorance and arrogance" of the "Lincos," a being something other then the human beings who are trying to get a GRIP ON OUR PERSPECTIVES. ASKING US TO SEE IN WAY THAT WE ARE NOT TO ACCUSTOM Too.

Were it Perfect, Would it Work Better?-Bruno Bassi

5.1. Communication vs Formalization

The idea of applying achievements from symbolic logic to the design of a complete language is deeply linked to a strong criticism towards the dominant 20th century trend of considering formal languages as a subject matter in themselves and of using them almost exclusively for inquiries about the foundations of mathematics. "In spite of Peano's original idea, logistical language has never been used as a means of communication ... The bounds with reality were cut. It was held that language should be treated and handled as if its expressions were meaningless. Thanks to a reinterpretation, 'meaning' became an intrinsic linguistic relation, not an extrinsic one that could link language to reality" (p. 12).

In order to rescue the original intent of formal languages, Lincos is bound to be a language whose purpose is to work as a medium of communication between people, rather than serve as a formal instrument for computing. It should allow anything to be said, nonsense included. In Lincos, "we cannot decide in a mechanical way or on purely syntactic grounds whether certain expressions are meaningful or not. But this is no disadvantage. Lincos has been designed for the purpose of being used by people who know what they say, and who endeavor to utter meaningful speech" (p. 71).

As a consequence, Lincos as a language is intentionally far from being fully formalized, and it has to be that way in order to work as a communication tool. It looks as though the two issues of communication and formalization radically tend to exclude each other. What Lincos seems to tell us is that formalization in the structure of a language can hardly generate straightforward understanding.

Our Dr. Freudenthal saw very well this point. "there are different levels of formalization and ... in every single case you have to adopt the one that is most adaptable to the particular communication problem; if there is no communication problem, if nothing has to be communicated in the language, you can choose full formalization" (Freudenthal 1974:1039).

But then, how can the solution of a specific communication problem ever bring us closer to the universal resolution of them all? Even in case the Lincos language should effectively work with ETs, how could it be considered as a step towards the design of a characteristica universalis? Maybe Dr. Freudenthal felt that his project needed some philosophical justification. But why bother Leibniz?

Lincos is there. In spite of its somewhat ephimeral 'cosmic intercourse' purpose it remains a fascinating linguistic and educational construction, deserving existence as another Toy of Man's Designing.

Thursday, March 01, 2007

Emotion and Reason Balanced: The Mind's Consequence?

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shne. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.


It is important to realize that the way this post is to unfold has to maintain the consistency with which I was introduced, so that you understand that what I avail in the Colour of Gravity is elucidated upon.

Louis-Bertrand Castel.
L’Optique des Colours, fondée sur les simples observations, & tournée sur-tout à la practique de la peinture, de la teinture & autres arts coloristes. Paris: Braisson, 1740.

Like Goethe, Louis-Bertrand Castel (1688-1751) opposed Newtonian color theory. However, unlike Goethe, who had thought that Newton’s experiments were flawed, Castel rejected experimental science altogether. Castel supported the views of René Descartes, a French philosopher who distrusted sense perception and advocated science based on logical thought rather than on empirical observation. “Newton,” Castel complained, “reduced man to using only his eyes.”

Castel himself theorized that vibrations produced color, just as they produced sounds. He concluded, therefore, that colors and sounds were analogous, which led him to attempt to develop the “ocular harpsichord” described in this book. The harpsichord was supposed to display colors in correspondence with particular notes. He had originally meant for the harpsichord to remain theoretical, but the skepticism of his critics caused him to spend thirty years trying to construct such an instrument.


Before I made way to the views/world of scientists who had been travelling scientific routes, I was developing from a psychological standpoint, a "multiversal unconscious world" that did not make much sense? It may have seemed "not rational" to people and philosophically might be held in low stature with what we had wanted of any good scientist. And then, to have it linked with all the deficiencies of the uneducated lay person, without a proper foundation, and within context of those developing sciences. That was me.

Rimimgton's Colour Organ

Prof Rimington
HARMONIC

A Wagnerian trumpet blast, he suggested, might be accompanied by intense orange effects, "which palpitates with the harmonic colours corresponding to a subordinate passage on some of the other orchestral instruments. The blast ceases; there is a faint echo of it upon the violins, while the screen pulsates with pale lemon and saffron hardly discernable. Again comes the blast of trumpets, and once more the screen flames with orange modulations".

Professor Rimington's home demonstrations must have been unforgettable. The Colour Organ was some ten feet high, with a five octave keyboard which was similar to that of a church organ, being controlled by stops. A line of "colour keys" was situated above the conventional (sound) keyboard, and connected to a lens-and-filters system, so that "colour" was "played". Best effects were secured when the sound and colour were played from separate keyboards.



So it was hard for me to know how I was developing my "intuitive recognition of first principles" with seeing developing insights to the concepts. I moved ahead in science to "thread history" with the developed views we have of science today. I recognized the experimental association with "other things," that we might have compared to that particular experiment.

Toposense(Sklar) as some feature of the interaction of the inner and outer world constantly "exchanging information" but never really defining the line that can be called "the departure from each." This was aided in a psychological sense by understanding "liminocentric structures" that could identify consciousness within this aspect of the larger universal context. "Geometrically defined," as this point within the circle. Yet focused in "the centre" we lost track of the "wider universal."

How much do we all know already? This is a question that raises the idea of what already exists within the framework of the sensorium? As a multifaceted approach to recognition of any "condensible view" about which we see "in front of us" and not just as the objectively defined the human being reasoned. But as one whose memory had been induced at a "emotive level of recognition."

How were they to remember? All experience had to make an impression and how deep it was, to show us well, you were able to draw this to the surface as an immediate, without any time at all in recognition.

The Colour of Gravity



So as strange as it may seem, I was already looking for what Newton was trying to do even before becoming aware of what was unleashed by Richard E. Cytowic, M.D. in the paragraph above.

I was impressed by the "thought experiment" of Einstein's valuation of time in regards to the Pretty Girl and the Hot Stove. It was the the idea that duration of time could have ever been assigned to the experience of the observer, and it's effect on time. Now I have heard Sean Carroll not liking this comparison from what I understood from reading his opinion and may of thought it feeble in it's attempt? Looking at it from my perspective I couldn't help but see reality having a colourful disposition to it.

While the views above were "mechanistic attempts at joining colour and sound," the emotive views developed from experiencing were indeed "impressionable?" Now what source these physiological repositories and I would have gone one step further to marry the idea of the emotive state to "colour enhance experiencing" as a validation of the duration of time in living our realities?

So one saids that all the ideas of colour in it's sequencing would be of value and consistent if we were all the same? Then it would mean there was some consistency in how we could interpret this colour to mean....all emotive states of being will have there association? In the value of greed, hate, or love, happiness, and we would say how "pink love" is or how "blue the mood," or how black and dreary something could be?

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.


All these emotive colours of gravity would then mean a vast difference in opinion from one person to the next, so what use? Just the fact maybe that every impressionable experience will make it's impact within the fabric of the brain? Will become your repository from which you will draw? Will become your value on life?

See:New Synesthete Character on Heroes

Wednesday, February 28, 2007

Science's Responsibility While Investigating Consciousness?


Our attempt to justify our beliefs logically by giving reasons results in the "regress of reasons." Since any reason can be further challenged, the regress of reasons threatens to be an infinite regress. However, since this is impossible, there must be reasons for which there do not need to be further reasons: reasons which do not need to be proven. By definition, these are "first principles." The "Problem of First Principles" arises when we ask Why such reasons would not need to be proven. Aristotle's answer was that first principles do not need to be proven because they are self-evident, i.e. they are known to be true simply by understanding them.




As a lay person myself, while being introduced to the subject of synesthesia, I found certain correlations that were uncanny to me within the way I had been displaying this site here.

We know we can adopt many things by insinuation alone and that is not what I wanted to show here, but the actual responsibility in researching consciousness as it is being held too here with the investigation by Richard E. Cytowic, M.D.

So I pull the following paragraph from his book to demonstrate, that what he holds in terms in methodology, is no less then that required in our research to all the sciences involved. As I research physics/consciousness within context of this site also. I draw the paragraph because it made a impression for responsibility, and by insinuation, I would not like to leave this area without giving it this attention as set.



There is a responsibility toward oneself as you investigate the world around you.

So by example Richard E. Cytowic, giving the circumstance of his research on the subject of synesthesia, had to incorporate the valuations assigned within that paragraph I selected. To show the information, displayed as I travelled through the book, was a historical as well as explanatory method on what would become one's consensus as of today.

There is a Physical Matter Called the Brain

It is interesting to speak about emotion and at the same time think about the physical consequences "within the body" that causes us the consternations of our moods and it's effect on our consciousness.

Because I may relate the issues of emotion in context the alchemist, it is by such developmental aspect of the psychology that I would want one to think about the thinking process as having a direct physiological consequence.

This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).

While I mention the woodcuts, the "labels" serve us well here to show that a picture can become a road map to the psychological, as well, demonstrating the experience itself, as well laid out "ideals" with which we could begin to approach our actions, as consequences. To what can become, and has been deeply buried to this point by the impact of that emotion/memory.

Seeing a Psychologist at Work


Richards Wagners's Ring of Nibelung Jean Shinoda Bolen, M.D. Ring of Power was interesting.

Strange that we could have seen A Jungian Understanding of the Wagner's Ring cycle, portrayed in todays world and how could have this been accomplished. But by re-introducing a fictional story and embuing it with the archetypal structures of what Jean Shinoda Bolen called, "The Abandon Child, The Authoritarian Father, and the Disempowered Feminine."


So giving some indication of the "metaphoric relation" applied to the psychology of a situation, I thought it best that while relating the road map to a "wood cut" that I show this expressionism at work as well. It is interesting to see how the psychologist speaks directly to the human condition?

Tuesday, February 27, 2007

Soul Food

The Man Who Tasted Shapes: A Bizarre Medical Mystery offers Revolutionary Insights into Emotions, Reasoning, and Consciousness, 2003: Revised MIT Press edition with new afterword

Not everyone will understand the title of this post? I will proceed to make this "exceptionally clear" once all of the post is completed. Some who visit will understand "something is nagging from the subconscious" to look at this even more. I do this on purpose by proposing the title and all "subsequent information a little later" as I am short on time as well.

You needed to know that any human endeavour to try and understand the self we need help sometimes, and I have no one who will do this work for me. I had to go looking for it. To realize the "synchronicity within of my own struggle" was actually recorded somewhere else. That my very site on it's own is realize within the inductive/deductive features where the need to relate too, demanded in my metaphoric relation to science as to how I was interacting with the world around me.

Now again I caution people to know that I am not saying I have this "topic related" other then to say "I see the world from the inside out." And that if you can digest this last statement then you will see what is happening a lot within this site I created, has some correlation within the study of others. I had no idea of these correlations until the words themselves help me to spot the nature of my own expressions.

I do take comfort from the fact Marcia Smilack recognized my language immediately, and that finally I was not alone in my attempts. With all my procrastination on explaining myself received, could finally have dealt with what had give me my views on science.


The fish is "soul food." The water the unconscious, all possible facets of the sensorium. The hook and worm, aspects of the "focus held" while you are fishing.

So I will demonstrate and "turn around a cartoon I seen" to help one understand "how I see" and then you see this cartoon in relation to it's owner's representation for comparison. It is a difference in how "my subjective views" are held in correlation to the original viewers own anecdotal evidence.

Sunday, February 25, 2007

The Colour of Gravity

I am not sure how this post is to unfold, yet in my mind different exercises were unfolding as to how I should explain it. Can I come from an artist's perspective I wondered? Say "by chance" anything that seems relevant here in writing, and any relation to science "is" metaphorical by nature?

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris


These free, wild raptures are not the only form abstraction can take, and in his later, sadder years, Kandinsky became much more severely constrained, all trace of his original inspiration lost in magnificent patternings. Accent in Pink (1926; 101 x 81 cm (39 1/2 x 31 3/4 in)) exists solely as an object in its own right: the ``pink'' and the ``accent'' are purely visual. The only meaning to be found lies in what the experience of the pictures provides, and that demands prolonged contemplation. What some find hard about abstract art is the very demanding, time-consuming labour that is implicitly required. Yet if we do not look long and with an open heart, we shall see nothing but superior wallpaper.
I underlined for emphasis.

Does one want to gleam only what is coming across in geometrical form as a painting without understanding the depth of the artist in expression? Some may say, why any association at all, and just leave science to what it knows best without implicating any theoretical positions with the thought pertaining to gravity here.

Yes that's why I selected the title of this post as thus, and why I am going to give perspective to what I may, "as artist in writing" see with these words, and then you decide whether it is useful to you.

The Field as the Plane

An ancient thought penetrated my thinking as I thought of "the field" that a society can work in agriculture, and yet, by definition it was the plane, "length and width" that was also appealing here. I did not want to loose it's "origination" while I moved any thinking to the "abstract of brane" and the like, without firmly attaching it to the ground.

But who was to know that this plane could be moved to any "fifth dimensional understanding" without having studied the relationship to dimensional thinking and the like. The physics elevated.

I allow this one time escapism to "other thinking" to demonstrate what use the colour of gravity implies while at the same time "theoretical positions" talk about it's place in the universe. If one did not accept the moves in science and the way it expressed itself to allow geometrical inclination, then how the heck could non-euclidean thinking ever make it's way into how we will discuss "the fields" about us?

It meant that a perspective "on height" be adopted? As an observer I was watching from a position. While in that sleeping/dosing state, I wondered how else to express myself as these concepts were amalgamating themselves into a "conceptual frame of reference?"

The picture of the field(I am referring to the ancient interpretation) continued in my mind, and "by abstract" I thought to introduce a line extend from the centre of this field upward. So here I am looking at this field before me. Now I had wondered off previous by bring "the brane" in here, yet is not without that sight I thought how the heck could any idealization so ancient make sense to what the colour of gravity to mean.

Title page of Opticks .... by Sir Isaac Newton, 1642-1727. Fourth edition corrected by the author's own hand, and left before his death with the bookseller. Published in 1730. Library call number QC353 .N48 1730.

So "an idea" came to mind.

While correlating Newton's work here and the "extra dimensional thinking," I also wanted to include the work of the "Alchemist Newton". "To expand" the current thinking of our "emotive states" as a "vital expression of the biological being."

Draw into any further discussion of the "philosophical or other wise," these views of mine which are a necessary part of what was only held to a "religious and uneducated evolutionary aspect of the human being."

A cosmologist may still say that such thoughts of Einstein used in this vain is wrong, but I could never tear myself away from the views of "durations of time."

Colour Space and Colour Theory

The CIE 1931 colour space chromaticity diagram with wavelengths in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image.

So by having defined the "frame of reference," and by introducing "Colour of gravity" I thought it important and consistent with the science to reveal how dynamical any point within that reference can become expressive. The history in association also important.

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.


So you tend to draw on your reserves for such comparatives while thinking about this. I knew to apply "chemical relations" to this idea, and the consequential evidenced, by the resulting shadings by adding. I wanted to show "this point" moving within this colour space and all the time it's shading was describing the "nature of the gravity."

Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space


By adding that vertical line in the field, the perimeter of my field of vision had to some how be drawn to an apex, while all kinds of thoughts about symmetry and perfection arose in my pyramidal mind.

All these colours, infinite in their ability to express the human emotive state, as a consequence of philosophical and expressed as function of the emotive being?

CIE 1976 L*, a*, b* Color Space (CIELAB)

CIE L*a*b* (CIELAB) is the most complete color model used conventionally to describe all the colors visible to the human eye. It was developed for this specific purpose by the International Commission on Illumination (Commission Internationale d'Eclairage, hence its CIE initialism). The * after L, a and b are part of the full name, since they represent L*, a* and b*, derived from L, a and b. CIELAB is an Adams Chromatic Value Space.

The three parameters in the model represent the lightness of the color (L*, L*=0 yields black and L*=100 indicates white), its position between magenta and green (a*, negative values indicate green while positive values indicate magenta) and its position between yellow and blue (b*, negative values indicate blue and positive values indicate yellow).

The Lab color model has been created to serve as a device independent model to be used as a reference. Therefore it is crucial to realize that the visual representations of the full gamut of colors in this model are never accurate. They are there just to help in understanding the concept, but they are inherently inaccurate.

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.


Entanglement

the quantum entanglement would become so spread out through these interactions with the environment that it would become virtually impossible to detect. For all intents and purposes, the original entanglement between photons would have been erased.

Never the less it is truly amazing that these connections do exist, and that carefully arranged laboratory conditions they can be observed over significant distances. They show us, fundamentally, that space is not what we once thought it was. What about time?
Page 123, The Fabric of the Cosmo, by Brian Greene


So many factors to include here, yet it is with the "idea of science" that I am compelled to see how things can get all mixed up, while I say emotive state, or Colours of gravity?

It gets a little complicated for me here, yet the "Fuzzy logic" introduced or "John Venn's logic" is not without some association here. Or, the psychology I had adopted as I learnt to read of models and methods in psychology that could reveal the thinking we have developed, and what it included.

Least I forget the "real entanglement" issues here, I have painted one more aspect with the "Colour of Gravity" to be included in this dimensional perspective, as we look to the models in science as well?

Working from basic principles and the history of spooky has made this subject tenable in today's world. A scientist may not like all the comparisons I have made based on it, I could never see how the emotive and mental statements of the expressive human being could not have been included in the making of the reality.

That I may of thought the "perfection of the human being" as some quality of the God in us all, would have granted sanction to some developing view of "religious virtuosity," against the goals of the scientist. So as ancient the views painted, there was something that may have been missed of the "Sensorium," and goes toward the basis of the philosophy shared currently by Lee Smolin.

This entanglement to me is a vital addition to our exploration of the universe. Our place and observation within it? It did not mean to discount our inclusion within it, within a larger "oscillatory perspective."

Saturday, February 24, 2007

Newton's Space was the Sensorium

Sir Isaac Newton, FRS (4 January 1643 – 31 March 1727) [OS: 25 December 1642 – 20 March 1727] was an English physicist, mathematician, astronomer, alchemist, and natural philosopher who is generally regarded as one of the greatest scientists and mathematicians in history. See here for further information.

While reading the responses to Aaron on the Cosmic Variance section, Lee Smolin made a comment there in his writing which triggered some recognition as I was doing some research on what he had proposed in previous work. So of course I am interested in how people form their ideas, so I went to have a look.

Lee Smolin:
I suspect this reflects the expectation many people have that time is not fundamental, but rather emerges only at a semiclassical approximation in quantum cosmology. If you believe this then you believe that the fundamental quantities a quantum cosmology should compute are timeless. This in turn reflects a very old and ultimately religious prejudice that deeper truths are timeless. This has been traced by scholars to the theology of Newton and contemporaries who saw space as “the sensorium” of an eternal and all seeing god. Perhaps the BB paradox is telling us it is time to give up the search for timeless probability distributions, and recognize that since Darwin the deep truths about nature cannot be divorced from time.

The alternative is to disbelieve the arguments that time is emergent-which were never very convincing- and instead formulate quantum cosmology in such a way that time is always real. I would suggest that the Boltzman Brain’s paradox is the reducto ad absurdum of the notion that time is emergent and that rather than play with little fixes to it we should try to take seriously the opposite idea: that time is real.


The key word here is "Sensorium."

The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997

The critic is very harsh toward Lee Smolin, and I am very sensitive to these kinds of responses, so trust me when I tell you that these are not my views. My views are still forming.

Lee Smolin:
For Newton the universe lived in an infinite and featureless space.There was no boundary, ad no possibility of conceiving anything outside of it. This was no problem for God, as he was everywhere. For Newton, space was the "sensorium" of God-the medium of his presence in and attachment to the world. The infinity of space was then a necessary reflection of the infinite capacity of God.The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997, Page 91


The term "Sensorium" is compelling for reasons that I am still not quite aware of, yet, it holds a fascination to me. It is colourful to me, yet, it had a nice ring to it as well.

Okay. :) I think it is the "relationship pointed out" and describing this relationship of Newton that is interesting. Most who have been reading my site will have some inkling of why.

It is not in what may be assumed of Newton and his religion towards the relationship to science? But some of the ways in which such "thought processes" may have been compelling. The way in which one can look at the world, gives new meaning to what was not so transparent before, now one included these aspects of the sensorium as "one."

That all of the senses had been "crossed wire to give perspective" in the way it did. How would you know this?

But lets move on with this here for a minute and I'll tell you why. But first some part of it's Definition from Wikipedia.

This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).


Part of the developing scientific view can come forth with new propositions if it has a foundation that is different then what was thought to be "it's basis of normalcy."

But imagine if you were a little different in your wiring that as a scientist you had difficult relating to the world, and you want to be consistent with your approach? Develope new methods, Calculus, to explain a process in nature? What may I ask will be forth coming form such a position, not to have thought, "hey this guy is nuts or just a broken flower pot?"

The track record so far seems to indicate that if such views are crossed wired in some ways, the interactive features of developing perspective will give model apprehension a new meaning that it did not have before?

Feynman in his concepts of a toy model approach? He may of seen what was of use from Dirac's geometrical thinking.

Wednesday, February 14, 2007

Strangelets and Strange Matter

Of course I will point to some of the "inherent nature" that some scientists encounter as they develop the geometrical basis to "all the concepts could ever mean?" But first, "the journey."

If not fundamental, though, quark nuggets zipping around the galaxy would still be an amazing addition. And perhaps even more amazing, in the end, than any technically strange - or just generally bizarre - particles burrowing through the ground would be the fact that the planet is no longer just a block of dumb rock in their path. It is an ever better wired planet, monitored and thought about in ever more ingenious ways; it is a datasphere ever more sensitive to its surroundings and its own processes, from flashes in the upper atmosphere to rumblings in the core. We have made it a planet that notices things. We have made it an observant Earth.


You have to understand that if you are doing the research you want to know what "this avenue/hypothesis is to produce? It's almost as if "you understand" that the geometry exists under the "fundamental explanations of all concepts" as they are being developed. How a "different language" will be "put over top" of what is existing now schematically. We learn "to read" what has transpired from one who has more credentials then I, as I am only a student of the work.

At the same time how did such thought processes develop outward to experimental validation in the real world? So you must understand, that I too understand this process. Not only from a "conceptual understanding" but from it's associative analysis one as well. It allow me to develop intuitively into what work is now transpiring at Cern.

Strangelets are small fragments of strange matter. They only exist if the "strange matter hypothesis" is correct, in which case they are the true ground state of matter, and nuclei are actually metastable states with a very long lifetime.


Odd behavior?



A person most intense and preoccupied with the endeavours they work, will notice that time passes very quickly around them. It's as if the world bypassed them, as the focus had cost them the appearance or the attention needed to take care of themselves. "Should I care" as I think of them, whether their hair long or that their desk is pile high with paper?

Careful least you disrupt the train of thought, that while busy, the underlings stand ready to act according to the plans of the teacher.

I learnt over time to accept that even the academics will make allowances for the "uniqueness of individuals" even if that behaviour seems odd( sure call it detective work :0). To allow these attributes of the mind to go along with, the excellent and Nobel prize work that may be produced. Do you not think that Einstein in his last days was more concerned with the focus of his attentions then how dishevelled his hair was?

Pierre Auger on Cosmic Rays

"For in 1938, I showed the presence in primary cosmic rays of particles of a million Gigavolts -- a million times more energetic than accelerators of that day could produce. Even now, when accelerators have far surpassed the Gigavolt mark, they still have not attained the energy of 1020eV, the highest observed energy for cosmic rays. Thus, cosmic rays have not been dethroned as far as energy goes, and the study of cosmic rays has a bright future, if only to learn where these particles come from and how they are accelerated. You know that Fermi made a very interesting proposal that particles are progressively accelerated by bouncing off moving magnetic fields, gaining a little energy each time. In this way, given a certain number of "kicks," one could perhaps account for particles of 1018 -- 1020 electron volts. As yet, however, we have no good theory to explain the production of the very-high-energy particles that make the air showers that my students and I discovered in 1938 at Jean Perrin's laboratory on a ridge of the Jungfrau."

-- Pierre Auger, Journal de Physique, 43, 12, 1982


With introduction to the "Pierre Auger experiments" one learns to appreciate what the large Microscope can do. It allowed us to change the way in which we see cosmology working to include the "astrophysics approach to the description of the universe."

Do you think cosmology devoid of new theoretical approaches, as we venture into the even more abstract "D Brane" world? That we should exclude, such theoretics as a language over top of the process of physics, to not think it is not delving into the world of the geometries involved as well as that physics?

The microscopic process is much more diverse not only in terms of the language, but of how concepts can "cross over" into what we are doing with other approaches.

Beam Trajectories



This summer, CERN gave the starting signal for the long-distance neutrino race to Italy. The CNGS facility (CERN Neutrinos to Gran Sasso), embedded in the laboratory's accelerator complex, produced its first neutrino beam. For the first time, billions of neutrinos were sent through the Earth's crust to the Gran Sasso laboratory, 732 kilometres away in Italy, a journey at almost the speed of light which they completed in less than 2.5 milliseconds. The OPERA experiment at the Gran Sasso laboratory was then commissioned, recording the first neutrino tracks.


Now of course I opened the beginning of this blog post with a article that asks you to consider the domain in which they have considered earth and it's value as a experimental process. The "strange hypothesis" to which I am talking about as a "cross over analogies" to the developmental process of Cern.

The Pythagoreans were called mathematikoi, which means "those that study all"


Amazing isn't it? That if one understood that there was a original context for all that we create, then what shall this context be? So science asks, that the universal language display the mathematics as a basis of all "conceptual frameworks spoken" that are developed. This is, "the right way of it" as I have watched the scientists as they have developed their theories.

So we have this "microscopic view of reality" as the "power of ten" along with "this enlightenment" that taken over all our senses. What has happened now, as we venture out into the cosmos? What has happened when we've taken "theoretical positions" and adapted them to the processes of physics?

Friday, February 09, 2007

Crucible

True creativity often starts where language ends.
Arthur Koestler


How many of you had thought the body you inhibit as a "vessel or a crucible?" I related in the previous post to ""Democritus had Passion and Heat?" to the idea of "Passion and Creativity" as as things that relate to the heat?

Now you ask what the heck is this to mean?

Well I spoke briefly on the woodcuts in "Hermetic Ties: Art to Esoteric Form" to demonstrate what the alchemist like to do as they used an "artistic form" of their day. To hide these "analogies" about just such a thing as I am describing in relation to the body and the crucible as being very similar.


The original of Splendor Solis which contained seven chapters appeared in Augsburg. In miniatures the works of Albrecht Dürer, Hans Holbein and Lucas Cranach were used. The author of the manuscript was considered to be a legendary Salomon Trismosin, allegedly the teacher of Paracelsus. The work itself consists of a sequence of 22 elaborate images, set in ornamental borders and niches. The symbolic process shows the classical alchemical death and rebirth of the king, and incorporates a series of seven flasks, each associated with one of the planets. Within the flasks a process is shown involving the transformation of bird and animal symbols into the Queen and King, the white and the red tincture. Although the style of the Splendor Solis illuminations suggest an earlier date, they are quite clearly of the 16th century


I gave a picture of a woodcut, as example of this, and what it means. As well, the relationship to the "Emerald tablet for consideration" in this thought about creativity and passion. About "distilling the very essence" we are made up of, as we think about things. As we give "colour and meaning to emotive happenings" that you are not aware, yet exist, in a "colouring of a sort outside you" you never knew about?

Do I fare better in my emotional disposition? I have to say I am quite human, in my struggle to identify those things that I develop in my relations, and wish for better then the Zen Master, whose anger quickly dissipates. :)

See again the relationship I used in regards to Democritus. While it is indeed old these comparisons I make of the history as science evolved, did you think that they would have been discarded? Even in this day and age, the art form of pursuing the excellence in the human being without applying this alchemist attitude to life is not without the perspective I share with Jung. Also in those who are trying to understand the EQ (Emotional quotient) now adopted in the understanding of the human being?



I belong to no group or faction, but deal with this from a perspective of research and understanding in relation to studying "the self." The "psychological aspect of this work" not only from an historical perspective, but from a understanding of today's psychology as well.

Am I credentialed? Am I a scientist? Of course not. So from that standpoint the ownest is to "weight the ideas" that I put forth, and for you to find whether your recognize "the truth" in what I say. It is not my intent to spread disinformation(token authority) and propagate illusions in the dealing with reality.

My work is to further expose our "subtle actions" from ways which have not been dealt with before? Including the way in which "new concepts are developed" in relation to science. IN this respect, I may be called "the seer" but do so with great respect of what Smolin set out to distinguish, understanding fully, the responsibility of the work of science to work from testability and experimental procedures.

The Synesthesist

For someone who sees as a Synesthesist, even though I do not see like them, I am able to "make the comparison," built from "modelling perspectives" that I developed while compiling and doing my own research.

Even the Synesthesist will have to ask themself whether what I portray is significant in there own research and understanding, as they are continuing to apply and understanding the "sensual imputes" that have been "cross wired." I may work from a "conceptual basis?"

I am trying to bring "this point of view of my own" from the metaphysical realm, and give it meaning in relation to our lives today. Hence I could be labeled the "broken flower pot," while giving a "vast view of the interrelationships" that I have been working.

A crucible is a cup-shaped piece of laboratory equipment used to contain chemical compounds when heating them to very high temperatures. The receptacle is usually made of porcelain or an inert metal.
Use in Ash Content Determination

Ash is the completely unburnable inorganic salts in a sample. A crucible can be similarly used to determine the percentage of ash contained in an otherwise burnable sample of material such as coal, wood, or oil. A crucible and its lid are pre-weighed at constant mass as described above. The sample is added to the completely dry crucible and lid and together they are weighed to determine the mass of the sample by difference. The crucible, lid, and sample are then fired to constant mass to completely burn up the sample, leaving behind only the completely unburnable ash. After cooling in dryness, the crucible, lid, and remaining ash are weighed to find the mass of the ash from the sample by difference. The fraction of ash (by mass) in the sample is determined by the dividing the mass of the ash by the mass of the sample before burning, which is done by subtracting the weight of the crucible and lid from the figure of the container, lid, and sample.

Sunday, January 28, 2007

The Mathematikoi had Synesthesia?


Pythagoreanism is a term used for the esoteric and metaphysical beliefs held by Pythagoras and his followers, the Pythagoreans, who were much influenced by mathematics and probably a main inspirational source for Plato and platonism.

Later resurgence of ideas similar to those held by the early Pythagoreans are collected under the term Neopythagoreanism.

The Pythagoreans were called mathematikoi, which means "those that study all1"


To say it is easy in knowing where to begin, is a understatement of what has been an enormous struggle to define the world around me. Indicative of the complications of how one may have seen this world in regards to the "views of a Synesthesist," would have taxed most "science minds" if they had "this inkling" of the complexity this brings to science. Think about what is implied here when one refers to "studying it all?"

So as I lay in the twilight hours of the mind's rest period, there are these things that I am asking of myself, as to how I may point to what is comparative in the "geometric views of science" and what is comparative to the views of that science in relation to examples given of the Synesthesist who sees from a certain position.

Again, my mind falls back in the history of humanities evolution and while the distinctiveness of sectors of that past history, it would not be unkind to draw from that history and present the question of what a Synesthesist might have seen in relation to the numbers?


Create and play with the most beautiful, hypnotic light illusions you have ever seen.


I seen the above in relation to Lubos's post. It would be nice to offer the "equation correlations" to these "colour displays" in string theory?:)

Numbers

Are you quicker then I then to see that numbers may have had the colour attached to their very nature, that "all things" then my have had this basis of "music" and "colour association" thrown "into the mix/cross over points"" to call it the Pythagorean?

So imagine being strapped with the job to start from some place, and move any mind to consider the complexity of "departing euclidean views" to meld with the "non-euclidean reality" assigned our everyday species to "what is natural" from straight lines and such. Has now moved to a dynamical world of "Faraday lines" Gauss's role as "teacher of Gaussian Co-ordinates" to views of his student, "Riemann?"


This equation provides a simple relation among the three sides of a right triangle so that if the lengths of any two sides are known, the length of the third side can be found.


Should one be so crude as to see that straight lines can have a "greater implication of design" that one would not have seen, had they not understood Gauss's work? That if you moved yourself to natures's domain, how many lines are really that straight?

Ask your self then what is natural and what was man-made? That these straight lines are indeed an order to mankind's "ode to building and living," while there are these "other worldly visions" supplied in the "non euclidean realm" existed free from man's definition of nature.

8.6 On Gauss's Mountains
One of the most famous stories about Gauss depicts him measuring the angles of the great triangle formed by the mountain peaks of Hohenhagen, Inselberg, and Brocken for evidence that the geometry of space is non-Euclidean. It's certainly true that Gauss acquired geodetic survey data during his ten-year involvement in mapping the Kingdom of Hanover during the years from 1818 to 1832, and this data included some large "test triangles", notably the one connecting the those three mountain peaks, which could be used to check for accumulated errors in the smaller triangles. It's also true that Gauss understood how the intrinsic curvature of the Earth's surface would theoretically result in slight discrepancies when fitting the smaller triangles inside the larger triangles, although in practice this effect is negligible, because the Earth's curvature is so slight relative to even the largest triangles that can be visually measured on the surface. Still, Gauss computed the magnitude of this effect for the large test triangles because, as he wrote to Olbers, "the honor of science demands that one understand the nature of this inequality clearly". (The government officials who commissioned Gauss to perform the survey might have recalled Napoleon's remark that Laplace as head of the Department of the Interior had "brought the theory of the infinitely small to administration".) It is sometimes said that the "inequality" which Gauss had in mind was the possible curvature of space itself, but taken in context it seems he was referring to the curvature of the Earth's surface. 2


The Interior Probabilities Manifests as Colour

How foolish would I be then to tell you that "Heaven' Ephemeral Qualities," are coloured to the degrees that "gravity defines itself in time?" That "model building" had to take place, so that the understanding of where this gravity explains itself, could find correlations to humans experiencing "durations of time" within in the living of day to day.

Again I move one back to what this "egg of fluttering does" as of physiological consequent, as the correlations of those same colours manifest in the qualities of those same thought patterns. Those experiences mapped to MRI imaging are condensible features "in the physical" do not explain the "Ephemeral Quality" assigned to each of these regions. Had one knew how to switch around the "value of consciousness" to the condensible feature as brain matter, one would have known about the happenings taking place "outside" of our bodies.

It is here to then that I take from the "metaphysical realm" and bring it into the relations of what is happening in the physical brain. While history has shown groups who gathered to see what was happening, saw "human experiencing" as they went through these colour modes.

1 Hemmenway, Pryia – Divine Proportion pp66, Sterling Publishing, ISBN 1-4027-3522-7
2 Reflections on Relativity8.6 On Guass's Mountain

Thursday, January 25, 2007

Hippies, Rock Bands, and Woodstock

There is a reason for this article. Bee was kind to point to this article, ""Artist on LSD" for consideration.


2 hours 45 minutes after first dose.

Patient tries to climb into activity box, and is generally agitated - responds slowly to the suggestion he might like to draw some more. He has become largely none verbal.

'I am... everything is... changed... they're calling... your face... interwoven... who is...' Patient mumbles inaudibly to a tune (sounds like 'Thanks for the memory). He changes medium to Tempera.


Now I give "my impression of what happens" from the different pictures, while the artist is under that influence.

Every youth has their experiences in "growing up." Any youth is greatly influenced by the actions "back then/now" of "role models." Then it was like Timothy Leary below, who paved the way for some dramatic exposure to the underlying creative aspects of consciousness. "Freeing" of the focus of the mind. Influencing the "children of that time" as I look retrospect, as a mature father, husband and grandfather.

Then names of people like "Flower" or "Pink" come to mind.


Timothy Francis Leary, Ph.D. (October 22, 1920 – May 31, 1996) was an American writer, psychologist, and advocate of psychedelic drug research and use. As a 1960s counterculture icon, he is most famous as a proponent of the therapeutic and spiritual benefits of LSD. He coined and popularized the catch phrase "Turn on, tune in, drop out."


The reason this link of Bee's is of some significance to me, is because of a time with my elder brother. He was 4 years my senior, back around that time. The thought came to me when he proposed something that he was doing. He was young at the time, and I more so.

You are Free to Explore Without

Now, I have to fast forward here to what I know now, that I didn't know then. Why this "example given under the influence" is of some significance and what it means. IN "reputable hands" this kind of "LSD treatment," and I would be foolish to say that I would know the process, would have to be done under a experienced doctor of the trade. One might add here the same scenario to all situations of DR.'s who have put in their time? :)


"All paths lead nowhere,so it is important to choose a path that has heart.-- Carlos Castenada"
I have told you that to choose a path you must be free from fear and ambition. The desire to learn is not ambition. It is our lot as men to want to know.

The path without a heart will turn against men and destroy them. It does not take much to die, and to seek death is to seek nothing.


I do not sanction this kind of access to "learning the depth of consciousness" that LSD seems to open, without an "experienced guiding hand." Reading of "Carlos Castaneda" of that time, will help to make this clear.

Mental hospital wards were evident then of the "freaking out cases" that had occurred to those who could not handle the "dramatic change in perception."

Now ,back to what I saw in the pictures as they developed through time, are what I saw in the diary of my brother. His writing, as he was "under the influence."

You must know, "brothers can idolize brothers older then them self." I was no exception and under his influence, I would say great care was not taken of his younger. I suspected his intelligence as he enter university, and his "own wanderings" that provoked thoughts about many things.

It was after his death while flying through the Montana mountains, with our cousin, and his ordeal with another two people, that I came into the possession of his diary. Now, I recalled our talks, and of this experiment that he had proposed. As to where this diary is now, I am scared to say, that it is with the papers "some place."

As I gaze through "his experiment" I must say that you had to be there, and if you had this sanity about you, then you would ask, "what connection is there to the reality you are writing or speaking?" Perhaps he was looking for the "gold, held in the secret of life," that by chance, could be gained from "there?" Where? "There," under the influence.

No "great words" and if I had thought that there would have been this picture revealed of "6 or 7," then I would have to say, "the wording" did not reach this interesting style.

Stretching the Brain

Tone color is also often used as a synonym. People who experience synesthesia may see certain colors when they hear particular instruments. Helmholtz used the German Klangfarbe (tone color), and Tyndall proposed its English translation, clangtint. But both terms were disapproved of by Alexander Ellis who also discredits register and color for their pre-existing English meanings (Erickson 1975, p.7).


So what are we doing when we find the situation "experimentally conducive" to offering a "deeper perspective" about the reality we live in? Are we providing "for a change" in how we have always thought? How we see differently, versus, the everyday reality we have become accustomed too?

So by "stretching the brain" we are doing much more then talking about the theoretics and the metrics. We are talking about "freeing one self" from the constraints that we have applied to ourselves in terms of, what we understand, and what we "can" understand.

If I were to say to you, that of "natural consequence" that we have assigned a "tonal perspective about life," then what would this look like? What would this mean? Surrounded by this "egg of consequence" may we see a dynamical fluttering of colors assigned to physiological happenings?

If one were to understand the "shifting of the tonal" then one might say this would indeed mean that the perspective has been changed from where it always "focused" to where the eyes rest in "new" theoretical terrain?

"Setting up" for new experiences, is about "experiencing life." The more you add, the more in terms of probabilites you have to draw from in terms of "correlating" experience. What you once read of this blog/book has now "new" meaning.

Monday, January 22, 2007

Window Into the Mind

As we increase our knowledge of the genetic, neural and cognitive aspects of synaesthesia, we will find that we are beginning to understand the brain more completely. Researchers may wish that they possessed synaesthesia, but being able to explore a new and strange trait that may hold the answers to many fundamental questions is reward enough.



Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris
Kandinsky, himself an accomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music.


Over the past 35 years I have spent a considerable time doing my own research. Learning to express myself, has been very difficult to say the least.

It is while doing this research that things seem to "overlap" as I ventured forward and finding examples, as if "analogies in nature" has been the "metaphorical struggle" that I use in "word use and comparison."

Creating the Language

It has accumulated from that research and integration within myself. So it is like creating and learning a "new language," while most of the time I come across as not being understood. That has been "my struggle" to get people "to see" what I am seeing? I don't get "images" in my head, but the accumulation of everything has been transposed into the way I express myself here in this blog.

It is true without lying, certain and most true. That which is Below is like that which is Above and that which is Above is like that which is Below to do the miracles of the Only Thing. And as all things have been and arose from One by the mediation of One, so all things have their birth from this One Thing by adaptation. Sir Isaac Newton


If I may by example give here "the idea of perfecting the self" in regards to Sir Isaac Newton. If he were to have been a alchemist, and persevered in his "psychological struggles," then what form would all his "struggles in self" have exemplified, if he "accomplished those parts of himself."

The "colour" of his being, and the alchemical relation to psychological changes? These alway existed and "as yet" had no name?

So from whence comes all "this energy of expression", to have been displayed as it has? In all the avenues of our "selves," that our experience has allowed that energy to manifest "this way" and "that way," and we have this "unique individual" before us, as you, or I, and "the many?" You "control the color or not" or, is it a "consequence" of this physiological process?


Smilack says her synesthesia helps her create art, such as this piece, "Squid Row." Photo by Marcia Smilack
Smilack belongs to the group of one to four percent of people worldwide with synesthesia, the neurological mixing of the senses. No two synesthetes have exactly the same perceptual experiences. Many perceive each number, letter of the alphabet, or day of the week as a different color. For others, sounds from the environment are always accompanied by moving geometric patterns in their "mind's eye."

Smilack has a rare form of synesthesia that involves all of her senses—the sound of one female voice looks like a thin, bending sheet of metal, and the sight of a certain fishing shack gives her a brief taste of Neapolitan ice cream—but her artistic leanings are shared by many other synesthetes. Scientists estimate that synesthesia is about seven times more common in poets, novelists, and artists than in the rest of the population. (Some of the most famous examples include artists David Hockney and Wassily Kandinsky and writer Vladimir Nabokov.)


Marcia Smilack:
When you take a photograph of a reflection, you must compose your image upside down -- an odd and difficult task. Eventually, it is simply easier to give in and rely on other parts of your mind to compose the image. So, in an oxymoronic way, seeing in reflection "forces" you to let go, to trust what you feel.

Second, these images opened a unique window into the mind of the researcher. Remember the Heisenberg Uncertainty Principle that states every object observed is changed by the experience? Well, I am the voice from the other side, the voice of the object that was watching them the whole time they were watching me. I have learned that we change each other through our interchanges. And while it is hard for me to quantify what I have learned from them, it is a great deal. Their questions and responses provide a framework onto which I can project what I intuitively know but do not usually speak.


She has many wonderful links that I had accumulated, and more. Also check out the extensive amount of links associated with the Synesthesia Resource Center on Patricia Lynne Duffy's book web page.

Calculus, or Feynman's Toy Models?

Some, who possess what researchers call "conceptual synesthesia," see abstract concepts, such as units of time or mathematical operations, as shapes projected either internally or in the space around them


So, is it out of necessity that we can "create the language" necessary to view the reality around us as it is, and how shall we do that? Sir Isaac Newton created "Calculus."

So with this "unique perspective of synesthesia," how shall you give to the world from what began in self, and we have this "multitude of choices" as to the "fabrications" we may use from our "artistic creative design?" No choice, synesthesia just is?

Sometimes I relate the experience of reading a book, to what is "consumed one day" was by design, our place in the scheme of understanding things. Where we have "this experience" that we can correlate. So "it" makes sense. If a person with synesthesia was to read my blog, how much more would they take from my writing, then one without?

It is no different then our understanding of the science of things. Life can seem "mythic in proportion,", until, we understood the deeper part of the "design of reality?"

Update:


Nature, so endlessly creative, has managed things so that each of us, hosts of synesthesia or not, perceives a slightly different world... a world colored by our one-of-a-kind pattern of neurons and experiences" -- Patricia Lynne Duffy

Friday, January 12, 2007

Music of Hemispheres

Hearing Colors, Tasting Shapes By Vilayanur S. Ramachandran and Edward M. Hubbard

Modern scientists have known about synesthesia since 1880, when Francis Galton, a cousin of Charles Darwin, published a paper in Nature on the phenomenon. But most have brushed it aside as fakery, an artifact of drug use (LSD and mescaline can produce similar effects) or a mere curiosity. About four years ago, however, we and others began to uncover brain processes that could account for synesthesia. Along the way, we also found new clues to some of the most mysterious aspects of the human mind, such as the emergence of abstract thought, metaphor and perhaps even language.
See here.

Who would have thought to present such an "overlapping of the senses," to think, that our life is much better defined in all that we can become. While we "concretize" our views about the matter states . "IN principle, in our convictions, and no less, then the "what of change" in our human constitutions.


Images courtesy of Vinod Menon (Stanford University)-Images from an experiment to locate the neural regions of the brain involved in listening to music. Daniel Levitin and another scientist scanned the brains of 13 people as they listened to scrambled and unscrambled versions of a tune.
“By the age of 5 we are all musical experts, so this stuff is clearly wired really deeply into us,” said Dr. Levitin, an eerily youthful-looking 49, surrounded by the pianos, guitars and enormous 16-track mixers that make his lab look more like a recording studio.

This summer he published “This Is Your Brain on Music” (Dutton), a layperson’s guide to the emerging neuroscience of music. Dr. Levitin is an unusually deft interpreter, full of striking scientific trivia. For example we learn that babies begin life with synesthesia, the trippy confusion that makes people experience sounds as smells or tastes as colors. Or that the cerebellum, a part of the brain that helps govern movement, is also wired to the ears and produces some of our emotional responses to music. His experiments have even suggested that watching a musician perform affects brain chemistry differently from listening to a recording.


Of course these are "matter states" defined and "of measure."

Synesthesia (Greek, syn = together + aisthesis = perception) is the involuntary physical experience of a cross-modal association. That is, the stimulation of one sensory modality reliably causes a perception in one or more different senses.


But yes indeed, what of a more "quantumly defined view" about what is not seen? Least I say, with "conclusive proof" that all these states of being in our human structure, and without measure are "not true?" Then what use "any method" that I would say and develop of value to "other defines states" of being, other then the "physical?" Emotional, Mental, or spiritual?

Sir Isaac Newton

It is true without lying, certain and most true. That which is Below is like that which is Above and that which is Above is like that which is Below to do the miracles of the Only Thing. And as all things have been and arose from One by the mediation of One, so all things have their birth from this One Thing by adaptation.


Babies Begin Life with Synesthesia

It is not without wonder then, that the child in us all, was in a better defined state of existance? Before, the "focus of structure" along with the views of the physical body, could have "pronounced the reality" with "all the things" that make each of us human to our reality now.

Whilst it "may have been" less complicated then "before," we assigned each of our senses accordingly to what stimulai will activate the "different regions of our brain?" These are learnt and developed states, that has "past our meddling", to have now become engrained in our physical makeup? What then, are we to evolve too?

Society with the way it now is, is focused in the "communication era of computers" and such. What attribute of the mind/brain is being developed, as we physically type on the keynoard in front of us, whilst we communicate on a level of mind that is less then the verbal sound communications our mouth's manifest in relations?