Given this formational approach to harmonics, and the dimensions themselves, one eventually has to ask ‘to what end?’.
Given enough time, or quickly enough, as they say outside of a temporal perspective, one has to ask “to what beginning?’.
In that, there is a definitive. Once perceived as infinite, and yet having a finite amount of space that one takes up, with potentially vast manipulative capabilities, limited only by the integration into the environment to create a malleable format of composition..
Yes, once again, back to the monkeys. The super monkeys, really. What with opposable thumbs, being the first indication that perhaps there is an inherit bonus to being able to work on two distict axis simultaneously, and the digits of the hands themselves, well, what a perfect example of interconnected dimensional perspective, of similar ratios, that only cross sometimes!
And what a tool these hands are.. Because of their capabilities, to be mobile, and yet not interfere with each other, except under specially crafted circumstances that are continually refined, to create an extremely well versed dimensional tool. Try playing the guitar sometime, get a feel for multiple aspects working simultaneously. Pick some grubs out of a pile using a stick. Play with shadowy hand puppets on the walls.. you get the idea. Go monkeys! Fantastic.
So. All this being said, that’s where the end is. Continual refinement, and specific abstractions into a playful, creative nature. To tool around, and get better at being, period.
‘Dryly’, it’s as if looking at a base expansion, and seeing the interactions between such. Picking out specific numbers, checking out the ratios to the series, and then shaping a usable format into such a ratio, and interacting thusly, either on the harmonic itself, or through the harmonic, depending on the level of integration.
But to the beginning? Oh, the questions abound.. and yet it’s quite formally easy to grasp. Think of any human being you know as the sum of their entireties. Their current ‘nowness’, as it were, and check out what harmonic they end up being. You interact with them on multiple levels, some more subtle than others, you yawn, they do too. Simple ‘throughness’ in harmonics. Break that action down, and you get the whole set of biological imperatives that are cued to specify a conditional reflex that is also based on harmonics and ratios.. That of the oxygen content in the air, and the need to have those ratios just so, to continue existing in the current state.
So, being at the sum of those entireties, they are composed of this temporal weave that keeps the same ratios inherit, and then interacts and adds layers upon layers of further abilities. Skills inherit, things learned, all ratios that enable composition with their environment, as it is. Even creations of unique environments, such as a bose-einstein condensate in a lab.. where did that one come from, except the greatest minds of our eras? To sum it up, it is the ability to concieve of such things, then the ability to be ‘ah yes, of course, how simple’, in the community of minds that enables the composition to become this lovely dance of firey light that is the interactions of compositions.
Note I said compositions.. to what end am I driving at? By my previous posts, unless I’ve changed drastically in how I present, it must have something to do with the title of this blog. It must have some of that ratio that defines ‘me’ and my style of presentation. Indeed it does, dear readers. Indeed it does.
To go backwards, one finds that each and every single one of us, past, present, and future, have the initial ’spark’ inside of the potential matrix formed by the initial form of the universe. That it takes so long for us to become present as we are today, or even so quickly, is entirely up to the specific ratios being around that are our environments, and their ability to sustain this level of dimensional awareness.
That is, we are all going to be, but it takes a specific environment to let this be.
Personally, I highly enjoy the extremely dogmatic literature of anthromorphization that is the religious texts. For, to describe before we were, how is the information going to get there?
I speak now of the in/famous “pidgeonhole” principle. That being, if there are N boxes and N pidgeons, each pidgeon must occupy a box, if a box can of course hold only one pidgeon. By simplification, by abstraction while maintaining an anthromorphization, be it emotional, perceptual, or intellectual, we create such boundaries, by backwards projection onto a level of existence that may not have had those ratios in a stable form.
That is, without a world to exist in, projected so far beyond the ratios availability, what is a deity going to do? Why, create the box of course.
Without the limitations involved in the ratios inherit to the anthromorphic form, the deity creates such limitations for itself, as to better interact with their environment. Indeed, they are seen to have tremendous, if not total, control over said environment. Such as it is, the penultimate future of the being in question, by backwards projection, accomplished the same task. They completed their evolution, in complete abstraction, which presented them with their environment.
Of course, this belies the true capabilities of this particular being. They simply became their environment, and needed to keep the same persona, in perpetuity, to continue existing whatsoever! And worse, any that they told the story too, this legend, also continued to impose the same legislation, that they could interact with this model of this being.
And yet, that is all that it is.. the model. For, governing the symposium were multiple ratios and multiple harmonics and multiple bases that composed these. The anthromorphic resolution of this being is far and beyond greater than all of that, indeed, it is the space which this being was cast, to create the environment the projector could exist within, that is also created by the being.
This, I believe, is the end of this particular story. For one cannot project into a space that *already had all the components necessary for the creation of the entire environment*, and say that it had a specific creator. All abstractions must obey the principle of those tiny pidgeons, for whom is the abstractor?
Indeed, legends such as ’secrets of enoch’ http://reluctant-messenger.com/2enoch01-68.htm#Chapter24 state such a space as already having those components available, for it is the story of the original creation of light. Temporally, the story of the demigod ‘thoth’ in the ‘emerald tablets of thoth’ also has this theme. In such a story, which I appreciate fully, the ‘gods’ are literally harmonics, and the base, in that story, is Nine. http://www.crystalinks.com/emerald7bw.html. I also like that one in particular because of the lyrical style it is written in. Rythmic, and thus, easily acknowledgable of the harmonics within. Brilliant. Shining, even..
To bring this into full form, I present you with the most beautiful perception of sound, from an omni-dimensional perspective. This is, like the earlier images, a perception of the bases. This, is base 9. This is the *only* base which comes from the base, and moves to the base. All others that have similar silhouettes, such as base 7, do not modularly reach unity. They expand, but do not contract past the silhouette. This one moves to a single point. Sound is percieved in exponential form.
and some documentation about sonics at the beginning of the universe: http://astsun.astro.virginia.edu/~dmw8f/sounds/aas/echoes.pdf
Once again, the only actual cause of differentiation must have been the subquantum flux. As it follows, this must be a mathematical base to create such distortions and still be perceived as unity upon expansion, since the bases are the quantum level of definition, and further, this can be observed by us supermonkeys, beings originating from this event, and observation causes a movement in this flux.
This is the ultimate in environmental manipulation, and yet cannot bring about massive changes without creating worlds that cannot percieve of it, and thus does ultimately very, very little, since any major changes results in unstable environments for us to project *from*, which cannot be temporally rectified, and thus never occur. It will also, upon vast changes, always result in something that looks exactly the same as it thought it did, since this broad manipulation will always be temporally verifiable that nothing happened, even if everything is happening. The box must suit the pidgeon, which creates the ratios needed to sustain the pidgeon, to create boxes.
Practicing this is exemplary form, as nothing at all is percieved to be happening in the beginning, and yet the skills, much like playing the guitar, improve at an abstracted level. Eventually, when something does happen, it’s in full confidence, and totally assured, and completely stable.
Pure faith, in other words. And to what anthromorphic creator deity is not pure faith proscribed? None, for they cannot exist without their abilities to create. So, upgrade your super monkey skills today! Manipulate the environment absolutely! It eventually must work totally! (and rather quickly, too, if you key into the right ratios)