New Book: Advanced Platonism

BOOK DESCRIPTION

FROM THE INTRODUCTION 


This book comes as an offshoot of my earlier book, Basic Platonism, which explains Platonic concepts largely in terms of snatches of an imagined dialogue with figures on their voyage through and beyond the caves of pretended knowledge. In this text, I address what may be called the tacit ideas of Platonism, the themes which according to Plato’s intelligence remain unquestionable, and thus, the theories that are most wise to Plato’s sense of himself and of nature. The idea is not to move beyond certainty as he understood it: to appraise him as a truth-oriented disciple of Socrates, someone with great ideas and great critical faculties. The structure of Aristotle’s work “The Categories” has been adopted loosely as the structure of this work, which seems appropriate since Aristotle was Plato’s best student, and thus the one most apt to understand the implications of his work... [T]he object of this book is to summarize the gist of Plato’s best ideas... sparing him from no critique, and offering a condensed version of what may be taken to be his most epochal themes, and those which most easily lend themselves to notes... I hope that this text is a joy to read…

The book may be found on Amazon HERE.

The cover depicts Aristotle, on purpose...(he was Plato's most advanced student).

MY PERPETUAL MOTION BOOK HAS A CURRENT AMAZON BESTSELLER RANK

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You can purchase Nathan Coppedge's Perpetual Motion Machine Designs & Theory HERE. "The best simple perpetual motion designs in the world".

THE THREE PERSONALITIES OF GINSENG

Cunningham's Encyclopedia of Magical Herbs says that it's good for love and making wishes.

But, in my limited experience with the herb (and I think I'm sensitive), I feel that it makes me feel possessed, and then grants me considerable intelligence gradually. In my view, this is only the second of three personalities of Ginseng.

The first is intelligent lovers, who mistake it for love, but are really boosting their obsession with their own intelligence.

The third personality is less intellgent people who think it connotes wisdom, plain and simple. But this just means they think it means other people's intelligence.

So, riddle solved! Ginseng just means possession in exchange for long-term intelligence. If you're wishing for intelligence, then it could mean wishing, too! And if you're wishing for intelligent love, then it could also help there, unless you don't want to feel possessed!

So, riddle solved! No further look for information about Ginseng. It is likely to deceive you.

And, if you want a cheap immortality remedy, look no further than Turmeric ('yellow root'), rather than Ginseng.

Recent Quotes by Nathan Coppedge (Early August 2015)

"Mathematical incoherency might be solvable by referring to something non-mathematical." ---Nathan Coppedge, The Solutions, August 2015.

"Because there is no innate unique thing separating the arbitrariness of one body from the arbitrariness of another body, so too, there is no innate unique sense of experience. Hence, there is no innate sense of Solipsism. You may not experience someone else's body---but in a way you already are!" ---Nathan Coppedge, The Solutions, August 2015.

"Preferences are the maximal requirement for the will." ---Nathan Coppedge, The Solutions, August 2015.

"[T]here is potentially no relation between free will and determinism. Free will represents the authentic sense of changeable objects, whereas determinism is a sense of changeless objects, of varying ambiguity." ---Nathan Coppedge, The Solutions, August 2015.

"You could say economics is the evolution of evolution. And meaning is the evolution of economics. But whether we reach each of these stages depends on the exact circumstances that pre-figure their possibility. In this way, meaning is still evolution, and economics is still survival." ---Nathan Coppedge

"Criticism ends with an artistic choice... It is tempting to say that it is only this sense in which art is mad... Even when people consider other distinctions, there is nothing about the process that is not either exceptional or desperate... And evolution itself evinces desperation..." ---Nathan Coppedge

More quotes can be found at Poemhunter HERE.

PROPHETS OF INTELLECT

These might include science fiction authors, philosophers, etc.

Amadeus Mozart --- abstract predictions making life more creative for everyone.
         Concept of 'life's variations' elaborated from earlier composers.
Bible writers --- perpetuated the concept of prophecy as something that was not idiotic.
Protagoras -- concept of relativity / all arguments are good.
Plato --- self-fulfilling prophecy of the Republic form of government.
Aristotle --- created logic no one else knew existed.
Lichtenberg --- made many predictions modern for their time, including that
            metaphysics could be mad.
Husserl --- formalized the beginnings of objective knowledge, including
         the state / quality distinction.
Marx --- contributed the concept of Communism.
George Orwell --- largely prophetic mentality.
Immanuel Kant --- secular humanism and criminal justice.
Neil Gibson --- science fiction writer predicted the computer 'core' .
Neil Stephenson --- science fiction writer predicted metaverse.

Looking at these, it is like there is a growing metaphysical trend----unless that is just the temptation of geniuses... Aristotle would know!

NATHAN COPPEDGE'S GUIDE TO TRANSCENDENT HYPER-FICTION

I have a number of works I classify this way, including works included in the One-Page Classics volume, particularly involving philosophy, and works published pseudonymously under the name Master Kuo, including The Lessons of the Master and The Story of Master Wu.

These works meet a unique definition of hyper-fiction not by using hypertext links, but by being super-intra-associative, super-lucid, and having a degree of consistency in the value of content between the multiple types of works in the genre by the same author.

Essentially, I define hyper-fiction particularly as a type of fiction that incorporates lists or list-like elements (or in longer works, many value-equivalent sentences), the effect being to create images which are super-intra-associative. The association may take place by engaging the reader in the action of the story, producing insight (as in philosophy), generating an idea of a particular word (such as 'parable' for example), or simply structuring the content of the story itself.

In order to begin the process of association which I find to be necessary, it is often helpful to begin writing with one image, which may be located at any point in the story. This image may be especially 'hyper' in order to define the genre. Here are some examples:

1. A copy of the story Flatland.
2. A horizontally-scanning X-Ray.
3. A Cubist or Bauhaus hotel.
4. An art museum located in the fourth dimension.

Etc.

The central image then creates an implied structure for some part (or all!) of the story. For example, the copy of Flatland can create mathematical or typological variations on other themes. The X-ray can involve dimensions with anthropology. The Bauhaus hotel can lead to concepts which are more dimensional than Cubism, or inside the hotel, less dimensional, and more proto-logical. An art museum located in the fourth dimension allows associations between different types of dimensions as they might be seen in the fourth dimension.

Characters in these stories might be different people from different backgrounds representing the different points of view present within the picture of different situations relevant to describing the overall common image of a hyper-cube, or they might be gods or heroes who someohow extend the shape of the story through their own significance.

An important factor may be determining how the story begins and ends. A story may for example, begin with empty space or mystery, representing the un-defined dimension. Or it may begin with an idea of complexity, and deconstruct until nothing is left. Other approaches are more difficult, but it might be possible in a highly systematic work to produce multiple sets which are equivalent, and held together by some common factors which are neither fully complex, nor fully empty, as in Life: A User's Manual by Georges Perec. In his case the subject of the book was life itself, providing ample material for commonly-valued sentences which are created using a highly complex system in his work.

It may be helpful to arrange events in the story in direct response to 'supernatural' occurences, such as unusual or bizarre or magical things that happen to the characters. This is a particular characteristic of hyper-fiction: the aspect of requiring special evidence to qualify as fiction at all. Much content is simply too mundane to serve as more than fodder for far-separated details within the work. Thus, categories must be considered carefully, and the writing must be kept clean and succinct, but not through a loss of the all-important images. More important than images, however, is the categories behind the images. Often, well-chosen categories are enough to describe a well-formed story, if you have already found your written voice.

So, as an overview: (A) Structure relating to dimensions, (B) Categories following from structure inspired or not, (C) Gods or heroes as characters, (D) Logical organization from beginning to end, (E) Specific descriptions follow supernatural events to help content.

That's about all. If you have constructed a piece of hyper-fiction recently, let me know about it by posting a comment on this post!

NATHAN'S BIBLE

A long-delayed project, this is the first volume of the Archemesis / Quadrant Bible devoted to Genesis / Engenesis.

BOOK DESCRIPTION

“…From this wonder gardens of archemesis Grew trees like shadows, and Eyes and dark flowers like the fire And some tangled in the mind Like trees that grew flowers And firey birds with shadowed eyes…” (ENGENESIS: 1:20) Describing his own unique interpretation of Genesis, Nathan Coppedge commands extraordinary language in this literary feat mixing Judaism, Christianity, and Paganism, that will move you to tears. The text follows the same order as the Jewish Tanakh Bible edition of Genesis. However, every verse has been painstakingly translated into a unique form of poetry incorporating words for alchemical symbols such as phoenixes, fire, coins, and trees, and emotionally overpowering language. Also included is a ‘Concordia’ of a type that accompanies many traditional bibles, as well as a short list of prayers of a Christian or Pagan variety.


The text can be purchased on Amazon HERE.

SECRETS / EXPERT ADVICE IN IMITATION OF WARREN BUFFETT

A devil is never THE devil! It just doesn't work out that way! Devils are exceptional people that have taken on the name because they can fulfill the role! End of story!

Magic exists, it's just that when you prove it, it disappears! Real magic is a lot like science! It's very easy, very intelligent science!

Investment: you can try mutual funds, but it's pure evil!

Investment: If you have a lot of time, bond papers will pay off eventually! The bank can't deny that you invested in them! But if you have a cap on your income, it may be illegal!

Here is something for immortality: the yellow root, or Turmeric! It aids digestion, as the Asian herbalists always say!

How to solve every paradox: reverse every essential term in the best definition of each problem, in the same order! It's called a paroxysm!

This is cold fusion: fusion without radioactivity!

The latest on the answer to life: See earlier blog article HERE.

Things that Are Divine About Me

Maybe it is the Source

Of suffere

[[But]] Somehow Ancient

MT(WW)WT(WW)M(TMM)

I DON'T EVEN KNOW WHAT THE HE IT WAS

CASUAL

* INSTINCTUAL

* PERFECT

1. I'm seeking immortality.

2. The first major thing I noticed was that I decided to grow a tendon in the middle of my neck, joining in the center behind my spine. Before that, I had two tendons, like normal people. It grew by willpower! And it's not a normal human structure!

3. From what I can tell, I gained the power to naturally synthesize small amounts of telomerase, an immortality substance, by following certain instructions (imagine that your cells have little hooks, then repair the hooks, see what your brain can do, creating a pleasant, chalky, milky feeling in your brain, now you should notice effects on your youthfulness).

4. I have never drunk more than a sip of coffee in my life.

5. I'm not an alcoholic.

6. I have never used street drugs, unless the one immortality pill I took was speed. I plan to take another one next summer (TeloRx).

7. I don't have a venereal disease.

8. I paid off my college loans.

9. I made the sky turn periwinkle blue, and then purple, from what I can tell, by wishing for good things.

10. I could choose which way my hair was directed by willpower, starting in 2015, based on a theory that people choose which direction their hair goes when they swipe it with their right or left hand. But this was something more divine than that: I could choose at any time!

11. I grew not copper, but metallic gold colored hair on my beard!

Superficial things for now, perhaps! But, if things improve, then they will be much better, so to speak! A major goal is to improve musculature when I'm 100! Earlier than that and the effect is atavistic, in my view...

THE STORY OF MY BEARD

It’s a healthful beard because it grows. It’s nice, it’s nice. Don’t shut doors behind you too much.

Young beards. There’s no lie.

Guo’s beard was never white until the end, when death was telling him he failed his quest.

He lived to 349.5 years, even when he had not found the proper method.

It was thought if he found the proper method he might live longer than 349.5 years, and so might anyone.

I try to trace the origins of what is meant by Guo’s dark beard.

He thought he would live forever, but he had an uncertain quest.

There was something crazy about turning white.

Crazy white.

As crazy as a howler monkey.

FORMULA FOR BEARD HAIR

It’s a healthful beard because it grows. It’s nice, it’s nice. Don’t shut doors behind you too much.

Young beards. There’s no lie.

Could it be Green? sure. It's weird how one thing appears no.

It's weird how one thing appears no.

It's Weird

How One thing appears that then again doesn't

It's weird how one thing appears that then again doesn't appear it's Could it be Green?

I don't wish.

I don"T Ww

I don't be a wizard

…

...

HOW TO BE A RENAISSANCE MAN: CAREER ADVICE

Artist. Inventor. Poet. Philosopher. Someone has to be very lucky to realize all these things. But one way to look at it is that some of it consists of fluff. Who is really going to make money except the inventor? Then, we can ask, is there something wrong with being an inventor? What I have heard is that good inventions happen by accident. Things like toilet plungers and toilets were highly useful, but it was a kind of miracle that they didn’t exist yet. And, basically, it’s possible that someone would steal the invention before a profit was made. John Crapper didn’t exist in ancient Crete, which also had flush toilets. No one in ancient Crete made money selling toilets, I suspect. It was probably state-owned, or was a side job set up for those who already worked hard doing other things. So, even inventing isn’t a miracle unless it’s a miracle.

Now, we can look at this again. Is there some value that can be had in the ‘cheap stuff’?

At first, we might look at poetry, and say, well here is someone with a little education to give them an edge, and they’ve developed a product that might sell----although it’s uncertain how much they might sell. But it turns out they need to be extremely good, and at the same time there’s not a huge market for poetry. So, succeeding in turning poetry into a job is almost unheard-of. Now we turn to art, and here is something that’s easier to market. But you have to be a kind of genius, and also have some practical skill---two things that are sometimes difficult to combine in large quantities. You want to be original, and you also want your art to sell. That’s a tougher bargain than you might think. It takes a kind of total dedication, or there’s no hope of competing with the rest of the market. Now, finally we come to that term ‘competition’! Poets and inventors have competition too, but they rarely think about it until it’s too late. You have to be a kind of psychic. With art its much more clear, it’s about comparing products.

Now, consider a philosopher. He’s got something, right? He probably has more education than the average poet. There’s an opportunity for intellectualism, which is like creativity. He can ‘know the market’ by finding a niche, which just involves ‘doing something new’! What’s wrong with being a philosopher? It turns out, philosophers rarely have a market, and when they do, it is often a small one. A philosopher is like a poet who is even more obscure, but much more sophisticated. He has to create his own market: although a general market might exist, his specific market might not exist. If he can sell his sophistication, then he might acquire a job as a professional academic, and he might sell books. If he’s quasi-famous already, he might sell books without being an academic. But he has to watch his expenses. He doesn’t have money to burn. But, is being a philosopher really the best kind of academic, or the best kind of author? I think it isn’t, in some important ways.

Consider the math genius. He’s a real professor. People have respect for him. Mathematicians are not called ‘quacks’ or ‘arm-chair philosophers’ or ‘navel-gazers’!

So, there is an opportunity: either (1) take some risk, and market yourself beyond the scope of mere philosophy, and risk making very little money, or (2) do something highly professional and sought after, without losing your sanity.

Typically, what is involved is not only having a product which speaks for itself, but also having some innovative marketing strategy, and an ability to connect with the market. This often involves establishing some kind of professional connection which goes beyond the minimum obligation. For example, you may be involved in professional music groups, join a discussion for philosophers, read poetry at poetry gatherings, or make inventions as part of a pre-established job description. Suddenly, inventing seems like the hard part, whereas these other categories have it easy.

Which (1 or 2) is riskier, and can be avoided? This determines the sort of reward you can achieve being a Renaissance man. Or, if you thrive on risk, you can create a persona centered on selling your image as ‘cutting-edge’. However, to some extent, you can do this even without creating risks. It may even help to take a conservative position in order to master many categories at once. This allows you to balance one thing against another, and ‘not keep all your eggs in one basket’. Instead of being an anomaly, you’re a strategist.

Additional Resources:

CreateSpace Independent Publishing (Free, and easy if you have Adobe software and experience). They publish not only books and e-books, but videos, music, and apps (I think).

THINGS PEOPLE MAY HAVE SAID IN THE FUTURE BEFORE I TIME-TRAVELED TO THE PAST

THERE

THAT NATHAN WAS FREE

THAT NATHAN WAS THERE

HE COULD GIVE MON TO A TREE

HE COULD GIVE MONEY TO HERE

THERE WAS(T)WAS(W)WAS(O)SWA H666H666888 9

CHINET GOD OF MONEY. (IF YOU THINK HE HAS [M]ON B BB) LL

"There goes my immortality" --- I was speaking. the context was my father telling me to buy regular milk instead of organic. It's possible this never happened, but was 'remembered' at an earlier point when I decided to travel back, even though at that time the key event hadn't happened yet. (circa 2015).

"With this dissolve, I decide to become a time-puzzle" --- I was speaking, after destroying my room, and before going to an insane asylum and then miraculously waking up in my own clean bedroom outside the asylum on a spooky night in which the Grim Reaper tried to kill me. (circa 2009).

"There, you're married" --- I said this to my art patrons Anthony and Crystal, before she granted me one wish, and I wished to time travel, and was sent back through my own life. (the future point being 2013).

"I bet you wish you hadn't time traveled". --- my mother was speaking in this scene, wielding a knife, and I think she scared me into time traveling back to where I had came from. It was a dark and stormy night, and everything seemed wrong.

"Want a piece of chocolate? I spent my whole day's budget on it!" then I appeared to go back in time at some point, after I had some kind of big problem.

"I'm not secretly taking, like, a lot of medication, are I?" "Well, sort, of! I didn't admit it, but my secret is, you're on ambergris" This was before I took a supposed immortality supplement. Thus, it must have been spiritual ambergris, or powdered ice-time or something (my step-father plays hockey).

"I think it's a scavenging rat"---my dad about an artwork I hadn't created yet in the current version of my life when he visited (the event might repeat soon).

"Okay, I'll clean out the refrigerator"---to appliances inspectors who were going to replace my refrigerator, only in a future life that I returned from (the even is repeating soon).

TRACTATUS OF EXCEPTIONS: A CLUE ABOUT THE 27-DIMENSIONAL UNIVERSE

By this I don't mean that the universe is limited to 27 dimensions...

1. What is, is.
2. What is, is not something.
3. What is, varies in what it is.
4. What varies, varies.
5.  What varies, varies in what it is not.
6. What varies in what it is not might not
vary in truth. It is uncertain.
7. What does not vary in truth,
lacks dynamic variables.
8. Some truths are entities, numbers.
9. Some truths are dynamic.
R. Irrationality may be a variable.
S. Some truths are mysteries.
T. Else, truths are a form of relation.
U. Truth varies by relation or truth.
V. There is some quantity of truths.
W. Try to relate with the absolute.
X. What is, might be different than
what you think it is.
Y. What is, is miscellaneous.
Z. What is, is not what it is.
Z2: Reason is a form of madness.
Z3: Madness has reason.
Z4: Not all things are true.
Z5: Not all things are false.
Z6: Not all things are mad.
Z7: Not all things have reason.
Z8: Not all things are explained.
Z9: Not all things lack explanation.
Z10: Truths are exceptional.

NEW BOOK RELEASE! GRAND UNIFIED THEORIES OF MEANING!

GRAND-UNIFIED THEORIES OF MEANING:

IDEAS GLEANED FROM N-DIMENSIONAL POLYVERSES

The book unites many separate concepts of dimensional worlds...

BOOK DESCRIPTION

This is a very cool project culminating from years of genius research on the nature of hyper-dimensions. The goal of the project came about through a gradual accretion of highly perfected category structures, each representing, at least metaphorically, one whole dimensional slot in reality, much like our current three-and-a-halfth dimension. The goal of the book was to assemble a categorical typology for each dimension, up to the largest n-th dimension I could find. As you might predict, I eventually left gaps within the system, but given the rigor of my research, I was able (not lazily), to adopt one perfect typology for each one of the first SIXTEEN dimensions, six full dimensions beyond what some believe is even mathematically conceivable! But since my system is somewhat avant-garde and un-traditional (yet logically coherent), I find no problem with introducing additional complex dimensionality. In fact, I have included a sampling of even higher dimensions than sixteen, as offered by my longer papers (...64th, 78th, 100th). Putting this material together without my background in dimensionalism would have been an exhausting task. And I hope the project strikes my readers as one which as I believe is worthy of the highest ambitions. I am also previously the author of other books on related topics, including books on philosophical coherence such as The Dimensional Philosopher‘s Toolkit, Coherent Systems Theory, and Coherent Logic. In many ways this text, by drawing on so many of the separate complete and incomplete projects, surpasses them all!---Nathan Coppedge August 2nd 2015, New Haven CT.

This text is now available on Amazon HERE.

Looking for more Likes!

To my Dimensionism and Hyper-Cubism groups:

https://www.facebook.com/HyperCubism

https://www.facebook.com/dimensionism

Thank you!

THINGS I'VE LEARNED FROM GERMAN

I live a convoluted existence --- from Ger. Konvulut: bundle or sheaf of papers.

One of my magic spells (ostensibly for light) is a German reference to dreaming: 'Pfulmen' for pillow. Although, it is not the word for a soft pillow. Interesting.

German for being cross-eyed, which has been roughly my condition since birth, is 'Schiel-en'. Since I called myself 'En' in one love-letter that was hand-written, the intelligent young woman I sent it to must have been thinking about squinting. She later said I was a master of English, perhaps meaning that I was bad at German. (Shell in English could be interpreted as the origin of love, thus, the letter could be the origin of a squinty kind of love).

In German, scissors are for 'Schere-e' ing. No wonder Germans are seen as sadistic.

Schippe stands for spades in German. Whereas 'Sparren' means chevron.

A word I thought meant alchemist ('Taumal-al-geist') means a cranky man with a brain like a rabbit's.

Many money spells involve 'Speck' for it is German for paying work. Thus, if one is a philosopher, one can create gold with 'Speck'.

The german term 'Vergelten' (retaliation) explains why He in the Jewish game of Dradel is so ill-reputed (Gelt is what you earn in Dradel).

Zimmer means 'room' and Zucker means 'sugar': explaining Jewish / German names.

To take a drag might mean being a member of the crowd in German: 'Zu-drang' means crowding and crowd.

Many writers writing about Zurich may know that it is similar to German for 'zunicht' which means ruin or destroy.

'ohne Zwang' means loss of control, so Kwang Guo (who I sometimes imagine I was in a prior life, see the book called Lessons of the Master by Master Kuo) might look out for lack of control, since ohne Zwang might mean 'master zwang' which is similar to 'master Kwang'. On the other hand the Chinese are famous for making a big intellectual deal about minor differences.

German 'Wilden-zen' (to taste venison) is similar to German 'Wilden' to go berserk.

Systematic words:

Wirbel Verschaftenwerk: Fundamental whirlpool system.
Zonen Kampft: Regional struggle.
Will-en Verlagg: The desire to copyright
Machtstellung: Political power.
Mahlzeit: Mealtime.
Staat-Ufft-Machtig: State-of-power.
Modulstaat / Modenstaat: Modular society.
  Meinenschaft: Opinionated work.
Median Wahrheitenschaftt: The art of middle-truths
Leucht-e-schaft: Work of brilliance
Leit-e-schaft: Public works.
Lettenschaft: A work of clay.
Kletternschaftenwerk: A transcendant or desperate system.
Klemm-e-Vorsaal-en-craffte: The art of being cramped in an anteroom.
Klemm-e-Vorsaal-en-schaft: The work one writes there.
Klär-e-Wirk: Clear writing.
Gedankenvorsaalwirk: What one writes when one is cramped and it is impossible.
Kautelsistemen: Exceptional system, final system, last attempt.
Kamarilla-schaft: What you write instead of going to a fancy party.
incomplette Kampftwerk: A work of poetry that succeeded.
Inbegriff Kampftwerk: 'Work that struggles with essence'.
Irzittern-Kunst: Trembling art form.
Elementargewalt Schiftenschaft: Temporary work on the elemental power.
Eisenkunst / Eisernkunst: Good art (always ironic).
Ein-lös-en bar Inbegriffwerk: Essentially redeeming work.
Giftmittelwirk: Product of antidotes