The Subtle Systemic Character

https://hypercubics.blogspot.com/2013/10/simple-secrets.html

https://hypercubics.blogspot.com/2016/02/i-took-spatial-reasoning-test.html

Considering a diffuse field, as may be formed in considering the distance between a given actual mode and its apparent manifestation (a view within which the object of truth is not strictly its reality, or if so, not the character of experience and or articulate communication, vis. nomenclature or noumena) there are three constellations of thought which come to mind, bearing on the character of thought considered systemically:

1. Life as a graph, a case in which the reality of matter comes out of certain effocacy, e.g. "material statistics", while existence is a matter of the certain effocacy of concern for such reality, vis. "existential parsing". Although this is a view that is both cold and animalistic (and in a pejorative sense), considered as a system, life becomes metaphorical for a greater life, hence the mind may be freed from the restriction of viewing object-as-life, rather than object-as-symbol. This bears on the possibly correct assumption that mind is concerned primarily with essence or spirit and not matter.

2. Finite finitude, defined intuitively as a limit to uncertainty; e.g. apart from the assumption that a given quality is redundant in comparison to its object, finitude in fact implies a limit even to the finitude it describes. This might be correlated with the idea of "death dying", although not proportionately or cleanly. In the sense that "life lives" is a definition, there is the notion of life and death as seperate things which coexist in a mortal. Mathematically (speaking in a very foggy manner, since I really have no higher math training), finite finitude is a way of describing laws of limitation as a context for (what I want to call "meta") dynamics.

3. Systemic attributes, symbolic codification of trends or systems. The idea that a symbolic object is a perspective on an abstract or ideal theme; e.g. like a thought experiment, it has an archetypal bearing on the role of system to identity.

COUNTERVALENCES, The Ways Order Folds Away From Life

Considering deeply, in a mood I do not often cross, on the subject of paradox and the order of the world, I accomodated in my mind five ideas of the contradiction between seeking life and seeking form; each is an element in an implied hierarchy of the play between individual essence or character, and the changeable and perhaps less flexible necessity of basic manifestation.

Conceit of Standing: (vis. Singularity)
that to take a form is not always to hold a form, to accomplish a given thing is not always to be the greatest in this accomplishment, to be manifest without character or intent may be less than to be nearly manifest in intent and character

Conceit of Formation: (essence and intent)
conundrum that formative clay (as an emblem of a fundamental nature) is without inherent purpose or dynamic--ash-like, dust-like

Conceit of Reflection:
conundrum of seeing what sees oneself with oneself or seeing without being all

Conceit of Locus:
conundrum that the spiritual center is not always one's own center, perhaps

These four may be interpreted as mandate or legitimacy, life form, absoluteness, and pith or deferrence.

Without legitimacy life form, absoluteness, and pith become hollow or deferrant.

Without life, legitimacy absoluteness and pith may hold value, but are not central.

Without absoluteness, legitimacy is a charade, life form nominal, and pith unexceptional. Yet a simple absoluteness (considered in any manner) could not be achieved by a simple character, or a complex one for that matter which has not taken form, without becoming something else altogether. Could a complex person aspire to be a very evokative fixture in space? Dynamic change is obviously not a matter of simply turning on a lightbulb.

Without pith it is as though legitimacy, life form, and absoluteness are shrunken and floating in space, purpose always subsumed ridiculously in things with greater power.

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Motist Artwork

Skeerie, ink on paper 2008

Chairns, ink on paper 2008

Carcatta, ink on paper 2007

Muir, ink on paper 2007

Impertures, ink on paper 2007


Works primarily in ink may be viewed at Machina Aesthetika

Motist commercialism

I've considered marketing posters on symbolism, a Metaph cartoon in the form of a graphic novel, The Motist manifesto itself (being revised gradually), artwork of an adequate scale, or art objects / jewelry / games / sculptures based on symbols or systematics.

Clearly enough the popularity of this blog does not point in that direction, however commercial marketing of laminated posters may be an easy way to supplement my income.

The artwork is developing. I have nine ideas for graphic novels based on the aesthetic of dimensional expressivism. I've had a number of ink drawings transfered to large-scale canvas 18 X 24", resulting in something more adequate to a legitimate showing.

A General Procedure of Thoughtful Modes

I've noticed a certain methodology in my creative process, working roughly in a system of checks, returning or reiterating unless conditions are met:

1. Compelling: feng shui, attraction, prescient sense, seeking the inexorable, health

2. Fixation: ideal of "vicarious rapture" for justice/ beauty/ articulation/ joinery

3. Object of Importance: an element expressive of a dynamic, or holding a logic

4. Excursion: borrowing impetus, carried by an idea, nurturing patience and concern

5. Expression: action compelled from concern; discovery of a form for fixation; i.e. a second layer of compelling

6. Worlding: enduring modes and concerns compelled from fixations, as discovered in the expressive mode; a second layer of fixation

7. "Fascination": technical term for comparing "worlds", modes, symbols, or impressions, metaphorically or analogically. A second layer of object

8. Departure: erratic or fearful search for new foundations or passions, roughly as rational as all foundations already relied upon. A second layer of excursion

(compelling, fixation, object of importance, excursion, expression, worlding, fascination, departure)

Interpreting under a categorical loop:

1. life of method,
2. method of madness,
3. madness of form,
4. form of an idea,
5. an idea compelled,
6. compelling fixed,
7. fixate forms,
8. formal excursions

Or, roughly (a practical summary):

1. Enthusiasm
2. Consideration
3. Formalism
4. Living with it
5. Recognizing and identifying
6. Mode-as-symbol
7. Scrying life
8. Adventure / Diversion

For the sake of the perpetuity of system

I'm posting a chart demonstrating a deductive method of Unity, explicated in my book, The Motist. I would reserve this strictly for my published material, but I find at this point that publication is uncertain and holds few certain merits.

The diagram shows an evaluation in qualific terms of a "meat factory", considered categorically in terms of one specific form of deduction, to point a categorical hierarchy of qualification.

The diagram follows. Enlarge by clicking directly on the image

This is a snapshot of a linear-degenerative or strictly linear form of the IEOC method, in which "Spending" is the fundamental nature of the chart, "Loss" is the process or effectiveness, "Process or Fear/Pain" is the objectivity, and "Horror or Butchering" is changeable (reflecting Identity, Effectiveness, Object, and Change).

IEOC Method

The Identity-Effective-Objective-Changeable division of unity may roughly be titled the "IEOC" Method.

It may roughly be divided into several levels of comparison, running from an iterative-degenerative linearity, to strictly linear and macro-cyclical.

Hierarchies in triplet sets such as "precept --> method --> ennumeration" and "holism --> relation --> solution" provide a basis for determining the precise nature of comparisons leading to concise and totalistic evaluations of dichoto-nominal circumstances, or bases for categorical situations.

A pan-systemic evaluation of methods is due when I finish my recent book project: Motism: the Ninesquare Notebook.

I've stopped building my latest perpetual design

out of a kind of mortal terror that it will work.

The chasm between a 'divinely inspired' schema (or one I would megalomaniacally perceive as such) and one with design flaws is intimidating.

The idea that there are abysses of history without an example is itself a terror.

More rationally, I might pretend that my handicrafts are at fault, that a working design is no economic solution to my life, that physicists would actually want to shoot me, that I'm not the person for the job, or I was soon to discover something completely wrong with my thinking (similar to balancing my expenses last week).

To ask the best has so far not been to know the path.

Latest Drawings

"Silky Form", ink on paper, 2007



"Hectic Flirri", ink on paper, 2007

No news from the reporter

about possible marketing. Perhaps this will be a long-term commitment.

I have sent

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revised introduction to a reporter who has offered to assist me in marketing my work. Otherwise there have been few obvious strides in Motism lately.

I continue to operate a Motist art gallery at Machina Artistika: Part of the Impossible Machine

The photographs in Cycle 2 (most often updated) are now ordered according to the most recent appearing.

I have a few potent projects which depend on signs of success to grow.

I've considered forming a website called The Terrapinian as a platform for authorship, with Motism in mind. However, its so contingent now its a little irrational to think its of the greatest importance. But how to plan ahead in these endeavors?

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When I consider the Terrapin who would sell books, I feel like so much more of a person. Life in cafes and little bookshops could begin to mean something. I'd be a smeller and breather of ink. I'm even working at a library. I'm so contented with bits of my introduction, part of me is apprehensive that I'm just setting myself up for unexpected failure. The same feeling has existed to various degrees for several years. The things that are gold to me! To think it isn't folly!

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Logical Generalizations

Its interesting sometimes to look at logical statements in how they refer to themselves. There is a popular belief that if you look deep enough, nothing is there. However its my view that this is a mistake based on the notion that to look at something exclusively in terms of logic is to avoid content. This is not to say either that logic is empty or that any content that might appear is empty because of logic. Instead, logic is a context for finding meaning in statements which have substance, even while logic itself may seem colorless and tasteless.

For example of this (what led up to this posting) I'll present a simple series showing what statements imply about themselves, and some things that may be deduced, according to a series of degrees of qualification, the first (degree 1) being solid by assumptions, the second (degree 2) by clear analysis, the third (3) by extensible or contingent logic (still logical, but perhaps by multiple premises), and the fourth (4) completely baseless. As you will see in these cases I may discard degrees 2 through 4 within my conclusions.

Premise 1 (P1): This statement makes sense
Premise 2 (P2): It would make sense if we knew it
Premise 3 (P3): Knowing knows it knows
(Q1): This statement (P1) is a basis for knowledge if it is true (if we premise it)
Degree 1, vis. to not know it makes sense is not sensical.

(Q2): Thus, the statement only makes sense by a higher degree if we know and the knowing makes sense.
Degree 1, vis. those who consider are more sensible; knowledge reflects consideration.

(Q3): Vis. just because the sensical leads to or promotes knowledge does not mean that all knowledge is sensical, speaking logically.
Degree 1, vis. knowledge is knowledge; it would make sense even if the sense was that it didn't make sense ('{p} knowledge' that doesn't make sense is often assumed to be qualified by the senseless, when in fact it may have a senseless logic apart from the individual, for example inequality or differing pragmatic imperatives); hypothetically there are objects as truths that do not make sense even to extreme discernment; in a certain sense finding them may be equated with discernment, but not to the undiscerning.

This sort of thinking could be summarized within a Venn diagram within which the sensical (equated with conscious analysis) is a small part of the knowable/knowledge (equated with experience). In a more discerning fashion, the same situation is expressed in a cross-like diagram in which an axis unreason-paradox passes through a scaleable "datum of the sensible", with an axis ignorance-antiparadox passing diagonally, demonstrating how a trend towards confronting paradox is reasonable, however unreasonable a paradox may seem in itself.

Although by comparison to unreason philosophy is then not strictly reasonable, in the context of the datum of the sensible it becomes quite definitive in relation to ignorance, (esp. if ignorance is equated with unreason or death-by-paradox, the latter being only half a joke since speaking dramatically fatal flaws and ironic unexpected turns are themselves somewhat paradoxical, and not always yet archetypes).

"Impertures" a Motistical ink drawing

"Impertures". 5 X 7" Unframed, Ink on Acid-free Paper, 2007


You can always click on the drawing for a closer view.

Interpreting Glyphs Alpha Televisionary Late in the Logos

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https://hypercubics.blogspot.com/2012/11/brain-circuits-10.html

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A view of glyphs of a cross or key construction



A kind of compass rose formed of keys:

News lately, and apologies

https://hypercubics.blogspot.com/2026/02/esperanto.html PURPELA

I failed to follow up on my blog activity in October, due to hiccups and developments of various kinds, however I'm returning to it now. Partly I was responding to the limited results of press activity.

My latest pursuit concerns the symbolism of glyphs, which suggest a geometrical nature to categorality. I'm not at the point of interpreting Mayan, but have clear and sudden impressions of the nature of line variations, within certain set forms.

The Motist has not yet been published. I continue to correspond with Phil Hall about eventual suitability, most currently about revising the introduction.

Perpetual motion has taken a backseat. Unless some virtue is seen in my posted designs it doesn't seem like anything will come of them. I'm still interested in automata, which play a special role as expressions of enginuity (e.g. Rube Goldberg devices, self-executing series, machine-as-metaphor, toys as thought experiments, etc.) but lately my concepts have remained concepts without resulting in anything commercial or demonstrative.

It was a jealous dissapointment to find an artist's wire structures in a boutique; one device operated by a crank was made to look fancifully like leaping fish, mounted on a wooden stand, pricetag $300. I was amazed I hadn't seen these before, yet also fascinated at the design. Its simple enough, and yet has such wonderful effects. True perpetual motion might aspire to be equally precious and rare. Even without a patent, maybe such devices could be sold in mass as curios. Building a miniature model might secure my name, even if it didn't secure a large income. I identify with these things so consoledly, I don't see how they would not be a greater part of my life.

Corruscated Rind

An ink drawing of the "second cycle" of motistical ink. The second cycle is indicated by distance from strict architectural forms in favor of a landscape that covers the entire page; the mythology becomes less one of fables and closer to futurism and objects of the psyche. Instead of a wire-frame or stone surface studded with holes, I approximate it to a garden or curving sheets of iron.