JackRiddler » Sun Sep 18, 2016 9:55 am wrote:That is brilliant dada. (Completely serious statement.) All perception is sorted into maps that then become masters. No perception is even seen except through a map whether recognized or not. This is also sometimes called paradigm. It's important to try to see it, and to see that it could be other.
Thanks, Jack!
So I have my map. Then I use it for 'mapping' the action that I perceive. When the map is 'layered over' the action, I've got my paradigm.
For example, math is a map. When I perceive action through the math map, I'm 'seeing' the world through the math paradigm.
It's a useful paradigm. But it's important to recognize it's a paradigm, or I can be fooled, math becomes the master.
An interesting math fact I read recently was that the mathematical mid-point between the length of the observable universe and the Planck length is 5 nanometers. If I forget I'm seeing through a paradigm, I think 'damn, the amount of space between 5 nanometers and the Planck length is the same as the amount of space between 5 nanometers and the length of the universe.'
Of course, the space between a Planck length and a length of 5 nanometers is... very very small. And the physical distance between a length of 5 nanometers and the length of the observable universe is very very big. Still, mathematically the mid-point is 5 nanometers.
Math has an elegant beauty and perfection to it. It's an elegant and beautiful mind-map, used to perceive actions through.
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Instead of paradigm as a map 'layered over' perception, another way of looking at paradigm is as 'defining a space where the action we perceive happens.'
When writing, I was noticing that there were certain types of 'spaces' where the action and dialogue takes place. I had:
1- stationary 'main' (ex: restaurant, meeting room, throne room)
2- stationary secondary (ex: hangar, bedroom)
3- motion 'main' (ex: command area, deck of airship)
4- motion secondary (ex: back bay, below deck)
5- outside nature, 6- outside 'underground,' 7- city, street
8- 'stage' (concert, theatre, soundstage)
9- dream-scape a 'free-form,'
10- dream-scape b 'symbols'
And space-fight/car chase.
These 'spaces' are like the underlying frameworks, the 'paradigms' through which the action of a scene is viewed. Moving a scene from a restaurant to a board room meeting, or from a forest to a desert makes superficial changes. But switching to a different 'paradigm space' (for example putting a stationary scene in motion, or switching from a nature scene to a dream-scape) changes the 'feel' of the scene. Not only that, but when a different paradigm space interacts with the scene, it can change the dialogue and action drastically.
So there's that. haha
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"The comfort of the samurai is that we are already dead."
Yeah, but life and death is a choice the samurai makes every moment. If you're a samurai, you always choose death. To choose death is to be clear, resolved, unafraid to fail.
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"...computational complexity acting as a time constraint on how fast the future can know itself* due to structural limitations, rather than as a theoretical imposition."
My navigation computer (anndemonium) works around the speed limit of light by traveling at the speed of thought. Speed doesn't increase uniformly above 2x speed of thought, it jumps in fits and starts. Anndemonium tells me it's the naughty way the kinky ParaKeets undulate.
So no, computational complexity is not the time constraint. It's the ParaKeets themselves. At speeds above 5x times the speed of thought, the ParaKeets undulate so kinkily that the future breaks down.