atlas

                                                                                                                                            

to enter the concept map, select a dimension: ( 0 ), ( i ), ( ii ), ( iii ), ( iv ), ( v+ )

hover, then pause over an image and a title with caption will appear

click on the image and it will enlarge, along with the text

to view the specific properties of each dimension, visit characteristics

within each dimension, there is no hierarchy as the images are randomly shuffled to maximize new associations

                                                                                                                                            

The object before the mind always has a ‘Fringe.’

Every definite image in the mind is steeped and dyed in the free water that flows round it. With it goes the sense of its relations, near and remote, the dying echo of whence it came to us, the dawning sense of whither it is to lead. The significance, the value, of the image is all in this halo or penumbra that surrounds and escorts it, — or rather that is fused into one with it and has become bone of its bone and flesh of its flesh; leaving it, it is true, an image of the same thing it was before, but making it an image of that thing newly taken and freshly understood.

Let us call the consciousness of this halo of relations around the image by the name of ‘psychic overtone’ or ‘fringe.’

– William James, “The Stream of Consciousness,” 1892

And theanalyticpoem is also a reflection; however, it does not merely echo “meaning” from the residue of extant soundings, but assembles new, previously unheard revelations.  The network allows and expects variance to maintain a dynamic system, relying upon a random domain of multiple individuals contributing to the network.  Therefore, there are no static criteria to establish suitability in the alignment of affinities and dimensions, except for the following broad concepts:

                                     zero (0) dimensional affinities are based upon the identity property  of a singular vertex = perceptions

                                        one (i) dimensional affinities are based upon the duality property of two linear vertices = relations

                                  two (ii) dimensional affinities are based upon the complexity property of three planar vertices = functions

                                      three (iii) dimensional affinities are based upon the unity property of four spatial vertices = summations

                                      four (iv) dimensional affinities are based upon the ability property of four spatial and one temporal vertices = foundations

                                    five (v+) dimensional affinities are based upon the density property of multi-spatial and -temporal vertices = projections
                                                                                                                                            

Thus, in theanalyticpoem we are creating a structure of ideas based upon a taxonomy of geometric dimensions; it aspires to be, as Buckminster Fuller describes in Synergetics, a model of “spherically expanding and contracting, spinning, polarly involuting and evoluting orbital-system feedbacks … critical-path elements are not overlapping linear modules in a plane: they are systematically interspiraling complexes on omni-interrelevant regenerative feedback circuits.”

Fuller reveals this spatial design concept in Critical Path, linking his geometry to that of Euler, and Euler to perception: “As the great mathematician Leonard Euler discovered with his topology, all visual experiences consist of three inherently different and unique phenomena: (1) lines; (2) when lines cross, we get vertexes (corners, fixes, points); (3) when several lines intercross, we get an area (window or face), or as we call them in synergetics: (1) trajectories, (2) crossings, (3) openings. (See 1007.11-15, Synergetics, vol 1; 1007.22-31 Synergetics vol.2.)  A system divides all of the Universe into (a) all of the Universe outside the system, (b) all of the Universe inside the system, and (c) the little bit of remaining Universe which comprises the system that separates the macrocosm from the microcosm.  The minimum system of Universe (4) is complex – four corners, four windows, and six edges.”

critical path

Because the fusion of disparate elements imparts unified impressions, our complex system will become more simplified as it expands; but simultaneously this simplicity will prompt further resolution because it is embedded with complexity, necessitating additional elements in the concept map.  The organization is thus cyclic as the spiral revolves, ouroboros-like, again and again.

Serpiente_alquimica

                                                                                                                                              

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