The Dam conspiracy conspiracy conspiracy

The Dam conspiracy conspiracy conspiracy

“what the thinker thinks, the prover proves”—recurring theme in the book Prometheus Rising, by Robert Anton Wilson.

Everything seems connected. Some things seem more interconnected than others. Networks connect. New information travels fast. Novelty powers the meme-space race. Reality, from the whole tribes perspective, maybe only what trends on twitter when the question is asked. Its as if relativity is getting more relative, to paraphrase a saying, while the exponential information explosion ripples ever outward, or inward, pulsing, simultaneously. Pull and push.

Dam Conspiracy everywhere! but which ones are worth the time and effort pursuing, if any? And to what end? Do you really hope to piece it all together, create the one singular, most probable scenario universe to one particular space-time event? Or is this an exorcise in information warfare, defense in the art of ratting out the fake and untruths from the real and true. Good luck with that. Perhaps simply thinking in probabilities takes us much closer to the truth?

In my estimation, the whole purpose of The Illuinatus Trilogy, and the collected works of RAW are to force one to think, to decide for yourself what is real, what is put on, what is mostly put on and a little bit real, and/or mostly real with a little bit of put on. Reality is both what YOU make it, but also how those around you perceive it in the ideaspaces we share. This is not to deny that things happen as we perceive them, that would be falling into solipsism, that I aim to avoid like the void. 

“whatever you say it is, it isn’t”—Alfred Korzybski

The conspiracy, in one sense, is that our brains, and our hearts and senses all seem to push toward making meaning and truth, and beauty for that matter, out of the signals we receive. What these signals are, how they came to be what they are, and why we put them into patterns and recognizable forms, symbol systems, pictures, song, remains as much a mystery as proposing what is outside the limits of the inflating universe. 
My purpose for writing this is not to put down conspiracy research, or theories, or individuals who propose them, but simply to try and reinforce what RAW says so much better than anybody else I have known, read or heard tales about:

“According to Alfred Korzybski, any “idea” or mental state is a brain circuit which the brain itself can contemplate, thereby having an idea about the idea, or a mental state about the mental state, etc. There is no theoretical or real limit to the higher ordering process; it is the “infinity within” of which mystics speak.—Dr Robert Anton Wilson, the metaprogramming circuit, Prometheus Rising, pg. 195.

Alfred Korzybski, should be at the very top of any serious conspiracy researchers list of founding individuals who developed principles and methodology for doing good honest research. At the least this may lead to a kind of probabilistic reasoning, or a system of communicating based upon a wide array o f data.
RAW for instance, crafted complete books of non-fiction abiding by the pretty strict rules of English Prime (E-Prime), or English language with the remove of beingness, or the beingness of isness. A major cause for confusion in Aristotelian either/or reality tunnels: see politics, religion and the music press. I advise any conspiracy researcher worth their weight in paperclips, to delve into E-Prime, for the sake of sanity. Familiarize yourself with disinformation and the ego tripping wizards of what is, often accompanied by the ongoing lyric of ‘I’. The mix of fact and metaphor. The mix of ‘isness’ with ‘I’ ness…running wild into the cage of certainty.

“to is, or not to is, maybe NOT a question worth thinking about too long”—Steve fly

Don’t get me wrong, ‘I’ would call myself a conspiracy researcher due to having read most of RAWs output, and I have built my own scheme of things, based on what I have read and heard, seen and intuited in my own life. RAW would probably list Alfred Korzybski, Ezra Pound, Karl Popper, Carl Oglesby, Noam Chomsky and Paul Krassner as some of his top conspiracy theory quality critters. Read them. Search each one at DuckDuckGo.com, or another search engine and see for yourself why these individuals and their ideas are important for us all now, and how they distinguish themselves from the popular sensationalist ‘pop conspiracy boom’ co-opted by the global entertainment market, and questionably extended the reach of the gov-corp disinformation ops themselves. I once met Richard Metzger who started up Disinformation.com, and who was a good friend of RAW, the use of the word disinformation by no means refers to him or the website by that name, Metzger flipped in back in the face of the gov-corp disinfo IMHO.

Let RAW clarify for us, once again:

“Every secret police organization is engaged in both the collection of information and the production of misinformation euphemistically called “disinformation.” That is, you score points in the secret police game both by hoarding signals (information units)—hiding facts from competitors—and by foisting false signals (fake information units) on the other players. This creates the situation I call Optimum SNAFU, in which every player has rational (not neurotic) reasons for suspecting that each and all may be trying to deceive him. As Henry Kissinger is alleged to have said, anybody in Washington who isn’t paranoid must be crazy. Maybe the UFOs really exist objectively—or maybe the whole UFO phenomena is a cover for a secret police disinformation ploy. Maybe there are Black Holes where space and time implode—or maybe Black Holes were invented to befuddle Russian scientists and send them into “the little man who wasn’t there” semantic spookery. Maybe Jimmy Carter really exists—or maybe he is, as National Lampoon once claimed, an actor named Sidney Goldfarb trained to project an attractive down-home “image”. Perhaps only three alpha males at the top of the security pyramid really know the answers to these questions—or perhaps these three are being deceived by certain subordinates, as Lyndon Johnson was deceived about Vietnam by the C.I.A.—Robert Anton Wilson, The SNAFU principle, Prometheus Rising. Pg. 226.

To continue, I suspect one good measure of a characters contribution to humanity could be based on how much, and in what way, they share signals. With particular focus on factual, useful, scientific tools that help benefit all humanity, simplifying the equation, creating a new synthesis, balanced, fair, funny and obviously to the benefit of all. Like a good contract. 

I am leading to a critique of the new whistle blower phenomena, and the way in which the information is communicated. When filtered through some of the most balanced sources that I personally like and can get along with, like boingboing.net, the Guardian, The Huffington Post, io9, dangerous minds, etc; still lack the attention to the whole human organism that a character like Amiri Baraka and Alan Moore exhibit. I mean in the special cohesion found in great works of art, often more detailed and obscure, the sense of time when reading a novel vs. a typical blog entry or news item. The urge to fill in the missing information often pulls us toward massive generalizations about our senses,  processes sensed and how everything fits together, self, the individual in history, and our moving experience of wakefulness, now.   

Each to their own, and give thanks to the wondrous diversity of forms we can get our information, in the age of global Internet. However, I feel a good question concerns the difference between scripture and regular writing? How do we create special writing and communication that celebrate the human traits of humanity, the triumph of the individual over the state, over ideology and the deceptions of perceptions. How to break free from alphabetical chains, categorical cages and get beyond language?

RAW might point us to James Joyce, Marshall Mcluhan, Ernest Fenollosa and Ezra Pound in this respect. All whom dipped a toe to five into the future and dared to propose, and to perform by example a whole new style, a new synthesis, an innovation and condensation of past knowledge and psychological craftsmanship into never before seen language. Language art, the art and crafts of poetry, and the antidote to the infinite conspiracy conspiracy conspiracy regress, IMHO.

James Joyce might be my favorite conspiracy author,the master of connectivity in language.  I think that Joyce and Pound, Yeats, and Burroughs stole back the fire from the big bad thief, they stole back the arts of disinformation, the double cross, Orwellian double-speak, and created quintuple agents with missions way beyond anything any Harvard spy professor or Oxford/Cambridge cocka could compete with. Not a chance. And the great Irish poets and writers–to call up a nationality and apply a stereotypical and misleading title for them–stand atop the world in the field of capturing the tragic/comic truth of life, whole. Or, truths in the plural. True enough I like to think. A strong maybe, probably true, like the second law of thermodynamics. 

If you choose to follow any of this advice about reading RAW and checking out some of his in depth works  concerning the characters I mention above, or not, please go ahead and have some fun with it, write your story, your own conspiracy, pull it apart and build it up again. Do it again. Critique your own strongest arguments. Eventually you may be able to meditate upon such activity before engaging, and save a lot of time and effort which cd. be applied elsewhere, perhaps working toward gaining some agency, or agency on behalf of your local community with which to at the least install protections, possibly some semantic standards with which to weed out disinformation at the root?

In light of the principle that blinkered and limited perception shrinks and limits the universe, we could say that the common jewel of the conspiracy theorists tackle-box–the all powerful, all controlling super Illuminati–makes the biggest fool out of those who shout the loudest. That is, unless the shouting turns to singing, dancing, storytelling, jokes and some good old fun such as RAW and Robert Shea demonstrate in Illuminatus Trilogy! And RAW demonstrates throughout his entire life’s work as a writer, teacher, playwright, scientfic philosopher, and genuinely really nice guy. Read him! Compare this with the monotonous paranoid ravings of those who proclaim to have discovered some universal truth about a highly complex historical event, no jokes, no alternative models, just an advertisement to sell books or other schwag. 

“It is what it is”—James Brown


“Nothing is”—Sun Ra

–Steve fly
Amsterdam, 26/3/14  

RAW: GENERAL SEMANTICS AT WIKIPEDIA

Connections to other disciplines

General semantics has important links with analytic philosophy and the philosophy of science; it could be characterized without too much distortion as applied analytic philosophy. The influence of Ludwig Wittgenstein and the Vienna Circle, and of early operationalists and pragmatists such as Charles Sanders Peirce, is particularly clear in the foundational ideas of general semantics. Korzybski himself acknowledged many of these influences.

The concept of “silence on the objective level” attributed to Korzybski and his insistence on consciousness of abstracting are parallel to some central ideas in Zen Buddhism. Korzybski is not recorded to have acknowledged any influence from this quarter, but he formulated general semantics during the same years that the first popularizations of Zen were becoming part of the intellectual currency of educated speakers of English. On the other hand, later Zen-popularizer Alan Watts was influenced by ideas from general semantics.

L. Ron Hubbard is widely believed to have used the theory in his creation of Dianetics and later to have incorporated it into Scientology, and acknowledges this in several texts; the first of these two movements in turn introduced General Semantics to a wider audience in the early 1950s, including popular science fiction writer A. E. van Vogt, personal growth theorist Harvey Jackins and his movement Re-evaluation Counseling and movements like Gestalt therapy. The founders of these movements did not themselves credit Korzybski for their ideas.

Albert Ellis (1913-2007), who developed Rational emotive behavior therapy, acknowledged influence from general semantics and delivered the Alfred Korzybski Memorial Lecture in 1991. The Bruges (Belgium) center for Solution Focused Therapy operates under the name Korzybski Instituut Training and Research Center.[42]

During the 1940s and 1950s, general semantics entered the idiom of science fiction, most notably through the works of A. E. van Vogt, The World of Null-A and its sequels, and Robert A. Heinlein, Gulf. The ideas of general semantics became a sufficiently important part of the shared intellectual toolkit of genre science fiction to merit parody by Damon Knight and others; they have since shown a tendency to reappear (often without attribution) in the work of more recent writers such as Samuel R. Delany, Suzette Haden Elgin and Robert Anton Wilson. In 2008, John Wright extended van Vogt’s Null-A series with Null-A Continuum.

Neil Postman, founder of New York University’s media ecology program in 1971, edited ETC.: A Review of General Semantics from 1976 to 1986. Postman’s student Lance Strate, a co-founder of the Media Ecology Association,[43] served as executive director of the Institute of General Semantics from 2007 to 2010.

http://en.wikipedia.org/wiki/General_semantics#Connections_to_other_disciplines

TTOTT WHEELS GO AROUNDAROTA

TTOTT WHEELS GO AROUNDAROTA

TTOTT WHEELS GO AROUNDAROTA

BALANCING THE EQUATIONS WITH TRIADS.

I view a part of my task in setting up a table of ttott correspondences as providing examples of how the tables can be used to create various effects. Both as study guides into historical, biographical work and as imagination guides into the tale of the tribe, and the new translations.

The triangular structure enables opposing characteristics of mildness and severity a point of resolution and of synthesis, a middle path that may recycle the energies back and around and in so doing balance the opposing forces. The general idea of dividing 30 characters into 10 sets of triangulated groups of three characters, for example, may provide a working model for a rough structure, as would 15 sets of waltzing duo’s of opposing forces or a ‘coincidance of contraries’ as Joyce put it in Finnegans Wake.

GEODESICS

I have developed number systems for working out the new maps, due to the possibility of multi-dimensional models at a latter stage of the project, whereby objects containing various symbols and images can be folded and enfolded. I have already experimented with a TTOTT Dodecahedron of 20 sides and 12 vertices, and in principle, the numbers 30, 60, 90,120 and 150 all render symmetrical objects upon which information may be presented, here I pay tribute to Buckminster Fuller, and Giordano Bruno.

THE TALLY OF THE TRIBE.

The set of 5 wheels I have designed each have 30 ‘nodes’ on their belt of concentric rings. I made them by choosing 5 major categories: Tailors, Theolo, Texts, Teachings, Totems (Human Beings, Spirits, Texts, Principles, Objects).

I have chose to recycle ‘T’ words and keep a running TTOTT structure to each heading and category I make. The TTOTT logo features four ‘T’s tilted to create a four way symmetry (+) with a circle placed central. If you pretend to say the word ‘T’ you’ll notice your tongue gets right up on your teeth, and if you make a repeated ‘T’ sound you may notice that you sound a little like a Hi-Hat cymbal, and, that you can repeat the letter ‘T’ faster and with more control than possibly any other letter in the English Alphabet? This will have some correspondence to the spoken word and spoken drum components to the class, but also keep the original TTOTT (the tale of the tribe) intact.

Giordano Bruno used the number 30 often when constructing his wheels and wheels within wheels. Although unlike Bruno, my belts are so far only attenuated to the TTOTT matter, and simply borrow the use of the number 30 and the idea of putting lists of things on concentric rings, 5 in total, producing 150 nodes, or images in Bruno’s model, that I should add seems incredibly more complex and refined than my wheels. Reading Bruno recently led me to revisit the idea of having 30 things on revolving tables, something I used to anchor some themes in an early edition of my book: World Piss: 30 seals and the spore of the words.

All the characters that follow Bruno chronologically can appear on the wheels that he inspired, together with Giambattista Vico, (another philosopher of the revolutionary hermetic renaissance tradition), the tribal characters can ride the wheel, the turning tables of correspondences, and so unify in that movement, that ever-changing sensibility and decentralized and rotational wisdom. A revolutionary force.

CONNECTING CYCLES AND CIRCUITS

The tale of the tribe must be a connected network, otherwise it is useless. A new team of nodal points, shared swarms that link together. The goal of a hologramic network, a poem, novel, screenplay, album, performing overlapping functions, working together.

The triple spiral symbolizes the rotational and spiral nature of the connected works of Dr. Robert Anton Wilson, the triad or delta that symbolizes femininity and the triple goddess. Vico and Joyce and Nietzsche feed off the spiraling principles of recorsi. Giordano Bruno and his “Memory Wheels” plus Giambattista Vico and his “Cycles of Ages”, Frederich Nietzsche and the “Eternal Return”, Ernest Fenollosa and the omni-directional radiance of “Chinese Symbolism”, William Butler Yeats and his dynamic “Gyres” and “Unity of Being” and ‘Symbolism’, Ezra Pound and his “Revolutionary Calendar” and ‘Ideogramic method of juxtaposition’, James Joyce and his spiral powered “coincidance of contraries & resolution of opposites”, Buckminster Fuller and the moving “Synergistic” principles. Meanwhile Alfred Korzybski and his “General Semantics”, Marshall McLuhan and his “Global Village Tribes”, Orson Welles and his “Neurological Cinematic Relativity”, Claude Shannon and “Information Theory” and other recurring geniuses and their additional contributions to humanity intersect with connecting threads represented by Dr. Wilson. In my opionion at their most potent when writing on Joyce: the mother-load of compressed hermetic wisdom.

THE TURNING OF THE TRIBE

The new maps and seals I present are a work in progress and as far as I know a unique way of processing the information, and potentially a relatively simple and sharable method for others to conduct similar research.

I would like to present a kind of Top Trumps challenge to create an equally revolutionary belt of innovative thinkers, or simply use any combination of belts on any grouping of things that you may wish, make it new! Bio-seasonal, calendrical, astrological and cosmological belts for example, may add many useful functions, the possibilities are literally endless with this, but I have chose to stack and pack a krewe that I believe represent the tale of the tribe as defined by Dr. Wilson, quite a bunch’, to perhaps provide a new platform for collaborative investigations, and new interpretations. Nodes or units of distilled cultural inheritance.

Tailors, Theolo, Texts, Teachings, Totems (Human Beings, Spirits, Texts, Principles, Objects). v1.0

  1. “Alighieri, Dante” Agnosticism Arrow Atem-Re Avision
  2. “Bruno, Giordano” Buddhism Binocular Baal Book Of The Law
  3. “Crowley, Aleister” Cinema Verite’ Cup Circe Cantos
  4. “Dick, Philip K.” Deconstructionism Disk Dionysis Divine Comedy
  5. “Escher, M.C” Epistemology Earring Eris Everything is Under Control
  6. “Fuller, Buckminster” Fourth Way Flag Findabair Flying Saucers
  7. “Gurdjieff, G.I” General Semantics Glasses Ganesha Gulliver’s Travels
  8. “Hesse, Herman” Hologrammic Prose Headdress Horus Holographic Universe
  9. “Ibsen, Heinrik” Information Theory Ink Ishtar Illuminatus Trilogy
  10. “Joyce, James” Jungian Psychology Joystick Jove Jitterbug Perfume
  11. “Korzybski, Alfred” Kabbalah Kettle Kallisti Knox Om Pax
  12. “Leary, Timothy” Lullism Lamp Lugh Liber 777
  13. “McLuhan, Marshall” Magick Mitten Ma’at Mass Psychology Of Fascism
  14. “Nietzsche, Friederich” Neuro Linguistic Programming Nail Naga New Science
  15. “Olson, Charles” Ontology Oblisk Osiris Open Society And Its Enemies
  16. “Pound, Ezra” Pataphysics Pincer Prometheus Politics Of Ecstasy
  17. “Quiggly, Carroll” Quantum Psychology Quilt Quetzalcoatl Quantum Psychology
  18. “Reich, Wilhelm” Recorsi Rope Ra Recorsi
  19. “Shannon, Claude” Synergetics Scissor Sarasvati Science and Sanity
  20. “Tesla, Nikola” Tessellation Turntable Thoth Tale of The Tribe
  21. “Unrah, Wes” Unity of Being Umbrella Utu Understanding Media
  22. “Vico, Giambattista” Vorticism Viol Vishnu VALIS
  23. “Welles, Orson” Witchcraft Wand Woden White Goddess
  24. “X, Malcolm” Xenolinguistics Xylophone Xi Wang Mu Xo-psychology
  25. “Yeats, W. Butler” Yin Yang Yurt Yu Huang Yajur Veda
  26. “Zenji, Dogen” Zetetics Zip Zarathustra Zen
  27. “Neumann, John Von” Modernism Mirror Aphrodite Book of Shadows
  28. “Fenollosa, Ernesto” Ideogrammic Method Pipe Pan Ulysses
  29. “Bandler, Richard” Eternal Return Breastplate Luna Cosmic Trigger
  30. “Wiener, Norbert” Neuro-Logic Ring Aphrodite Critical Path

Monday, September 13, 2010

Fly Agaric 23 announces online RAW course

Steve “Fly Agaric” 23 has announced a new online course, “email to the tribe,” which will run from Sept. 20 through Nov. 5 and will feature weekly doses of multimedia; participants are asked to donate what they can.

Agaric explains, “Each week fly will provide a spread of multimedia for you to process, generally keeping in step with the program, encouraging a wide variety of conversation and focused feedback. Feel free to drop in and drop out, as you like.”

TTOTT TEXTS v2.0

ARGUABLY The greatest single resource for the study of DR. Robert Anton Wilson’s tale of the tribe.

Steve fly agaric 23.

Marshall McLuhan: Renaissance for a wired world By Gary Genosko.

The medium and the magician: Orson Welles, the radio years, 1934-1952 By Paul Heyer.

The classic Noh theatre of Japan By Ernest Francisco Fenollosa, Ezra Pound

The legacy of Norbert Wiener By Norbert Wiener, David Jerison, Isadore Manuel Singer, Daniel W. Stroock

The virtual Marshall McLuhan By Donald F. Theall

Popular culture in a new age By Marshall William Fishwick

Vico and Joyce By Donald Phillip Verene

Science and sanity: an introduction to non-Aristotelian systems and general semantics By Alfred Korzybski

The Ezra Pound encyclopedia By Demetres P. Tryphonopoulos, Stephen Adams

Giordano Bruno and the geometry of language By Arielle Saiber

Giambattista Vico and Anglo-American science: philosophy and writing By Marcel Danesi

Beyond Good and Evil By Friedrich Wilhelm Nietzsche.

The New Anthology of American Poetry: Traditions and revolutions, beginnings… By Steven Gould Axelrod, Camille Roman, Thomas J. Travisano

The good European: Nietzsche’s work sites in word and image By David Farrell Krell, Donald L. Bates

The Dragon Painter By Mary McNeil Fenollosa

At the speed of light there is only illumination: a reappraisal of Marshall McLuhan By John George Moss, Linda M. Morra

The Chinese Written Character as a Medium for Poetry: A Critical Edition By Ernest Fenollosa, Ezra Pound

From Whitney to Chomsky: essays in the history of American linguistics By John Earl Joseph

The imported pioneers: Westerners who helped build modern Japan By Neil Pedlar

Fearing the Dark: The Val Lewton Career By Edmund G. Bansak, Robert Wise

Spoken and written discourse: a multi-disciplinary perspective By Khosrow Jahandaríe

American literature and science By Robert J. Scholnick

The poetry of Ezra Pound By Hugh Kenner

Nietzsche: an introduction By Gianni Vattimo

News is people: the rise of local TV news and the fall of news from New York By Craig Allen

C is for CUBE: CHU & Korzybski

The final cube, in case you missed it

| posted on Jun 09 2009

The little promotional stickers that advertised 51 Degrees, the solo show back in April, had a website on the reverse pointing to www.schudio.co.uk/51. Visitors to this page would have seen a few different panoramas during the show, but at the moment its the final rendition of the Cubic Experiment.

After my group show, Jibbering Art moved the cube outisde. I had to recreate the floor and the ceiling, this gave me a chance to fill up the design a bit more, going for almost complete coverage. The floor was a large piece of reverse lino that took to the Edding pens really well, and was ably laid down by Big Chris and Jon from Jibbering.

Line Steppers /

Other details were added to the upper walls and some of the ‘rear’ wall, opposite the slogan.

Line Steppers / Christy

The final effect was more than satisfactory and it continued to conceal a few secrets of its own.

See the final cube in its own FULL PAGE window, no need to download anything to see it, all you need is Flash installed (which most browsers have nowadays, if not then go here.)

The proteiform graph itself is a polyhedron of scripture.
There was a time when naif alphabetters would have written it
down the tracing of a purely deliquescent recidivist, possibly
ambidextrous, snubnosed probably and presenting a strangely
profound rainbowl in his (or her) occiput.
James Joyce, Finnegans Wake pg. 107.

http://www.vimeo.com/4372989

http://en.wikipedia.org/wiki/Logic_alphabet

“Dr. Zellweger’s background is a combination of formal education and extensive research in the fields of Psychology, Pedagogy, Semiotics and Logic. Beginning in 1949, Dr. Zellweger spent his summer at the Institute of General Semantics with Alfred Korzybski. In 1975 he spent one year at the University of Illinois, Biological Computer Laboratory, under the direction of Heinz von Foerster. — http://en.wikipedia.org/wiki/Shea_Zellweger

Logic Alphabet models by Shea Zellweger.

In 1953, while working a hotel switchboard, Shea Zellweger began a journey that would culminate in a radical new notation for formal logic, the set of relations that underlies modern computing. From a garage in Ohio, Zellweger developed a visual language he dubbed the “Logic Alphabet,” in which a group of specially designed letter-shapes are maneuvered like puzzles to reveal the geometric patterns hidden beneath the symbolic web of logic. For more than fifty years, Zellweger has been exploring the symmetries and relations inherent in these patterns, which he has made manifest in a series of delicately crafted wooden models and in thousands of pages of diagrams. In this jewel-box exhibit, the Institute For Figuring and the Museum of Jurassic Technology proudly present Dr Shea Zellweger’s Logic Alphabet models and drawings.

The Logic Alphabet Tesseract – a four-dimensional cube. Diagrams by Warren Tschantz.

Zellweger’s work is based on a discovery that the logic on which our computers run is allied with a geometric structure whose form is a tesseract, a four-dimensional cube. Much of his research over the past half century has aimed at identifying all the subsets of this group of relations in one, two, and three dimensions. The resulting models and diagrams, often crystalline in nature, constitute a genuine research project in logic while simultaneously passing through distinct aesthetic phases,
reminiscent of Russian Constructivism, concrete poetry and Pop Art. What is most important here is that these physical models enable us manipulate logical symbols spatially – we may learn to do logic by flipping and rotating these marvelous toys.

Left: The Logical Garnet, three dimensional projection of the Logic Alphabet tesseract. Right: A cubic sub-group of the Logical Garnet.

That logic is underpinned by a spatial architecture was independently discovered at least six times in the history of mathematics, first by C.S. Pierce, one of the pioneers of the field. For Zellweger this fact is of more than purely formal significance – it is the seed of a potential pedagogical revolution. Through model play, he proposes, we may teach our infants logic in school. Like the great nineteenth century creator of the kindergarten system of education, Friedrich Froebel – himself an experienced crystallographer – Zellweger’s models call forth the latent potentiality of the mind through engagement of both the eyes and hands. This revolution would not be confined to the schoolroom, for given that logic is the foundation of computing, the alphabet might serve to re-envision the computer itself. — http://www.theiff.org/exhibits/iff-e7.html

GRAFFITI ART AND STREET ART ARE REVOLUTIONIZING ALPHABET AND COMPUTERS – WAKE UP TO THE WRITING ON THE WALL.

–STEVE FLY

ALSO SEE http://www.logic-alphabet.net/

NOW YOLK. APOLLODELPHI THEATRE sketch v1.0

CUBEDOME

NOW YOLK. APOLLODELPHI THEATRE.

(JackY Muller, Manfred Humanski and James Shermon are talking about the CUBE).

JACK MULLER: A vectorial-edged cube collapses. The cube’s corner flexibility can be frustrated only by triangulation. Each of the four corners of the cube’s six faces could be structurally stabilized with small triangular gussets, of which there would be 24, with the long edge structurals acting as powerful levers against the small triangles. The complete standard stabilization of the cube can be accomplished with a minimum of six additional members in the form of six structural struts placed diagonally, corner to comer, in each of the six square faces, with four of the cube’s eight corner vertexes so interconnected. These six, end-interconnected diagonals are the six edges of a tetrahedron. The most efficiently stabilized cubical form is accomplished with the prime structural system of Universe: the tetrahedron.”

JAMES SHERMON: A method is developed for representing any communication
system geometrically. Messages and the corresponding signals are
points in two “function spaces,” and the modulation process is a
mapping of one space into the other. Using this representation, a
number of results in communication theory are deduced concerning
expansion and compression of bandwidth and the threshold
effect. Formulas are found for the maximum rate of transmission
of binary digits over a system when the signal is perturbed by
various types of noise. Some of the properties of “ideal” systems
which transmit at this maximum rate are discussed. The equivalent
number of binary digits per second for certain information sources is calculated.

JACKY MULLER: Because of the structural integrity of the blackboard or paper on which they may be schematically pictured, the cubically profiled form can exist, but only as an experienceable, forms-suggesting picture, induced by lines deposited in chalk, or ink, or lead, accomplished by the sketching individual with only 12 of the compression- representing strut edge members interjoined by eight flexible vertex fastenings.

JAMES SHERMON: If noise is added to the signal in transmission, it means
that the point corresponding to the signal has been moved a
certain distance in the space proportional to the rms value of
the noise. Thus noise produces a small region of uncertainty
about each point in the space. A fixed distortion in the
channel corresponds to a warping of the space, so that each
point is moved, but in a definite fixed way.

JACKY MULLER: The accomplishment of experienceable, structurally stabilized cubes with a minimum of nonredundant structural components will always and only consist of one equiangled and equiedged “regular” tetrahedron on each of whose four faces are congruently superimposed asymmetrical tetrahedra, one of whose four triangular faces is equiangled and therefore congruently superimposable on each of the four faces of the regular tetrahedron; while the four asymmetrical superimposed tetrahedra’s other three triangular__and outwardly exposed__faces are all similar isosceles triangles, each with two 45-degree-angle corners and one corner of 90 degrees. Wherefore, around each of the outermost exposed corners of the asymmetrical tetrahedra, we also find three 90-degree angles which account for four of the cube’s eight corners; while the other four 90-degree surrounded corners of the cube consist of pairs of 45-degree corners of the four asymmetric tetrahedra that were superimposed upon the central regular tetrahedron to form the stabilized cube.

ICOSAHEDRON:

JAMES SHERMON: We now consider the function of the transmitter from
this geometrical standpoint. The input to the transmitter is
a message; that is, one point in the message space. Its output
is a signal—one point in the signal space. Whatever form
of encoding or modulation is performed, the transmitter
must establish some correspondence between the points in
the two spaces. Every point in the message space must
correspond to a point in the signal space, and no two
messages can correspond to the same signal. If they did,
there would be no way to determine at the receiver which
of the two messages was intended. The geometrical name
for such a correspondence is a mapping. The transmitter
maps the message space into the signal space.

JACKY MULLER: In short, structurally stabilized (and otherwise unstable) cubes are always and only the most simply compact aggregation of one symmetrical and four asymmetrical tetrahedra. Likewise considered, a dodecahedron may not be a cognizable entity-integrity, or be rememberable or recognizable as a regenerative entity, unless it is omnistabilized by omnitriangulation of its systematic subdivision of all Universe into either and both insideness and outsideness, with a small remainder of Universe to be discretely invested into the system-entity’s structural integrity. No energy action in Universe would bring about a blackboard-suggested pentagonal necklace, let alone 12 pentagons collected edge to edge to superficially outline a dodecahedron. The dodecahedron is a demonstrable entity only when its 12 pentagonal faces are subdivided into five triangles, each of which is formed by introducing into each pentagon five struts radiating unitedly from the pentagons’ centers to their five comer vertexes, of which vertexes the dodecahedron has 20 in all, to whose number when structurally stabilized must be added the 12 new pentagonal center vertexes. This gives the minimally, nonredundantly structural dodecahedron 32 vertexes, 60 faces, and 90 strut lines. In the same way, a structural cube has 12 triangular vertexes, 8 faces, and 18 linear struts.

JAMES SHERMON: This type of mapping, due to the mathematician Cantor,
can easily be extended as far as we wish in the direction of
reducing dimensionality. A space of n‘ dimensions can be
mapped in a one-to-one way into a space of one dimension.
Physically, this means that the frequency-time product can
be reduced as far as we wish when there is no noise, with
exact recovery of the original messages.

JACKY MULLER: The vector equilibrium may not be referred to as a stabilized structure except when six struts are inserted as diagonal triangulators in its six square faces, wherefore the topological description of the vector equilibrium always must be 12 vertexes, 20 (triangular) faces, and 30 linear struts, which is also the topological description of the icosahedron, which is exactly what the six triangulating diagonals that have hypotenusal diagonal vectors longer than the square edge vectors bring about when their greater force shrinks them to equilength with the other 24 edge struts. This interlinkage transforms the vector equilibrium’s complex symmetry of six squares and eight equiangled triangles into the simplex symmetry of the icosahedron.