Q9 Reborn Darker: 50% More Twisted Macinations and Blackened Gaits of Fate

... (The cover was a Tesseract! Big time deja vu on that one.) The title referred to the fact that all previous collections ended up divided into 9 sections, and this one was also, thus Quadra 9. All except Triumvirum's 3x3 format were just coincidentally divided into 9 sections. I can't compare this collection to the others. It just exploded creatively. Sometimes it worked, sometimes it didn't. When or where it worked, it was awesome though. Occasionally dark and twisted, yet never without a purpose or soul. ...

PolSci.com (Original index page)
(and every index page there since then), Early 2004

      Not to say this collection is that great, but it is for me is what people write poetry for, to create something better than you are, to channel creativity into something really really good. After this, I had no need to prove myself to others. It is as good or as worthless as anything people do, and it was definitely a real collection. How to divide it up, how to try to make sense of it, that was more difficult. The strangest ones, with made up words, olde English quasi-Shakespearian (lots of Thy's), and brilliant imagery left me wondering where it was leading. It was definitely stranger and better than the ones before it, and a bit darker. I had touched on serious subjects like Death Squads in Central America, the literal raping and murder of Amazonia with Triumvirum, but Quadranine came closer to a fuller viewing of what people really are behind their self-images.

      The original order I think is important. It shows how I was interpreting it, one poem at a time, then rereading them. These are good, what next? Where is this going? WTF is it all about? It is strange enough and a big enough of a collection I really still do not have a clue about that. Many of the subjects I have touched on in other things all my life. In some left-out mostly forgotten poems here, I have seen glimpses of ideas which would only come into full bloom or focus years later, but because those ideas were right here then, I can't say I was not aware of them. Artistically, poetically, absractionally, we are always aware of everything we might do later if we get the chance. All we need is time to sort it or let it out.

Summer 2006, Intro to Quadranine: The Original Uncut Version

      Quadranine is moved up on the site because it is the best one I did and it is now restored to its original form. In the last thing written in that notebook was the following line, "A survey of the belief systems people have and the courses of action these beliefs impel them to take." It says little to others perhaps, but to me, that sentence speaks volumes. We are set on courses of "fated" destinies because of what we have bought into, and cannot reconsider while moving. The faster we are moving, the less perspective we have and eventually those movements and those "ends" are all we see and know. I know nothing is fated and all "ends" can be changed. Ideology is what makes us human, separates us from other species, but it is ultimately to be chained to past ways of thinking at the expense of the future and of freedom.

The World We Inherited, The World We Will Leave Behind, September 4,2007 TruthRevival.Org

I did not like the idea of just using a 4 sided pyramid on the cover of Quadranine, nor even one mirrored below it. I then thought of using the same symbol or shape (an octahedron with a line in the middle where "touches" or is in "sync with" this world, a "base") configured in a cube shape with the 6 four sided pyramids pointing to the center of the cube, the bases forming a cube, and the other 6 pointing away from the center outward from the dice shape as points. "Four without and four within..."

      I liked the idea of this adding the number 12 to the mix, but the problem was how to draw it so it would not look like a mess (as much as it did when I did draw it). I then thought both representations together, a mess of 12 four sided pyramids (6 octahedrons) in a cube shape with 6 pointing toward the center of a cube and 6 pointing away, next to a regular 4 sided pyramid. But the 6 pointing away was to be the same concept, a mirror image of the other "outer" six but pointing into a "ground" equally from the other "inner" 6 and that "ground" touching the edges of all 12 pyramids at once, a 3 dimensional curved "ground" (the cube between the 12 pyramids) which was really flat somehow (from a 4 dimensional viewpoint, I understand now, seeing a 3D shape as flat, a "ground" as we see a 2D plane as flat) but also at right angles to each outer and inner pyramids along the edges of the cube. Also that the tips and edges of the outer 6 meet up somewhere away exactly the same way as the inner 6, equally mirroring how the 6 inner ones touch, only seen as such when viewed at a different angle.

      This was representational of a 4 dimensional object or curved 3 dimensional space around itself. Just as every three dimensional object is a representation of a 2D plane or "space" curved around upon itself, 4D "objects" can be envisioned as curved 3D spaces or universes curved back upon themselves forming that "surface" area. I know now that that was what I was thinking of but could not fully recognize it then in that way yet. When I later that year came upon a wireframe drawing of a tesseract, (the exact same concept or drawing from within middle inner cube when the cube in the innermost area is not a cube but is instead seeming to be a single point) I saw that that concept was more easily drawn and recognizable, and was also an easier to understand concept of 3 dimensional space curved around a back upon itself, and in a single symbol, not two (the way I had previously represented it), both of which were confusing and were two different views upon the same idea which had to be combined mentally to be understood.

Still here; Charles Williams novels; Not going Galt (or Gault) anytime soon anymore
JaredDuBois.com, 4/5/2009

      Since the second post on this blog (Repeating Repetition again, August 7th, 2006) was some lines or quotes from what was then the newly restored version of my "Repetition" collection of poems, dubbed "Repetition Reloaded," I figured I would do the same with the second post back (after a gap of almost 2 years) here, putting up some lines taken from the Quadranine collection since it has also been restored to its original form.

      I refer to it as "dark" or "darker" than the others but it was not really that much different. It was written in a very turbulent year, 1989, 20 years ago this year. Mostly what was removed was simply to try to get it into categories, not always to "lighten" it up at all. Individually, I still think the poems in the Pentacle collection were even better, but it was not the same type of collection because Pentacle was spread out over many years, unlike Quadranine. The longer or more times a work covers, it is not really as representative of a single or more similar time or times. For me, Quadranine and 1989 are linked together as that was the year over which it developed.

      Some of the imagery being stranger and more psychedelic may have a bit to do with the fact that it was the only other collection of poems, except for the first one, The Versatile Verse, in which I was smoking pot during the period of writing it. The election of 1988 did not go as I expected so I pretty much walked away from college for awhile (a fairly long while it turned out) disgusted with the idea of working in politics after that. It was not nearly as upsetting as the election of 2000 was, which was far more disconcerting on a whole gigantically higher level, and for many more people than myself. I stopped smoking pot again after a short time, before the end of 1989, but I am sure that influenced what I was writing somewhat. At least some of the strange imagery in Quagmire and Scares of Wont shows an effect. I had gotten much better at writing poetry by then so that collection combined a much more developed skill with, how shall I put it, artificially enhanced inspiration. It was an overlapping combination that would not be repeated.

      By the time of the Pentacle collection, as I have said previously, I was losing interest in writing poetry. I had moved on to writing songs for awhile for the added challenges of combining poetry with music, which is a different sort of category, more difficult in some ways, more superficial in others. “Wordy” songs, though they can be good and respected, are different than what most people expect songs to be usually. They expect constant or recurring repetition and lighter less thoughtful topics, as well as a far simpler vocabulary than I liked to use with writing poems.

      I tend to like to move on to other things and lost interest in writing songs after a few years as well. Writing long posts at TruthRevival.org was interesting too, a different type of writing form, as is blogging in general, with lots of variations on how people approach writing them. I liked the summation / overview of the first year of TruthRevival.org with The Lion, the Phoenix, and the Serpent retrospective. That could have been a good final coda for that blog if there was to be no more.

      Why I like to move on to new types of writing/art forms, I really don't know definitively. I can't imagine doing or wanting to do the same thing for many years. Learning new things to do creatively means a sudden rush of improvements until you find around what level you will probably finish off at, how far you might get. I don't mean success, money, or fame-wise, which are mostly irrelevant to me. To be financially dependent upon an art form has its own rewards (more free time to get better at it, more incentive to get better at it) but that has its own traps as well such as needing to be more conforming to what others would expect or wish to see, hear, or read. I am glad that other than software, (which most people don't consider an "art" form, though I try to view it and treat it as such) that I have never been dependent upon writing for an income, thus no incentive to do it or keep doing it longer, or for any other reason, other than because it interests me to do so at the time for some reason.

      So while getting Quadranine back into chronological order, at that time I singled out these lines quoted below as a mixture of what I thought were good lines sampled both from the outtakes, as well as from the ones which I felt were good enough to be in the “categorized” shorter version. It took years to get around to posting this anywhere, but since the last post here covered the cover design of Quadranine in great detail, that also seemed to make this a good time to mention the overview of the content as well. And here below is the long ago selected outtakes from Quadranine...

Living the life of a pariah
is a harrowing yet illuminating way to be
as you see a great fear hidden safely away,
a fear of ugliness or of imperfection
in people too immersed in superficiality
to know or care deeply for the minds within
and blind to prejudice's subtlest manifestation

- Sword of the Slight 2
__________________________________

Raise the pious high then drop them from the sky
while we eagerly await their flight or obliteration

Desecrate the scholars, let them see ignorance's power
and make them fear the inmates who dare to run the asylum

Cut the godhead's throat, destroy their myths then gloat
as we dare even praise ourselves
for being less believing than the rest

- Revolting 5
__________________________________

Toward injustice
I instinctively set my course
for with all that I am and have
I shall meet it head on full force

Gaining precious momentum
each moment of my waking hours,
I search to find the optimal path
to make even the leviathans cower

- Full Force 6
__________________________________

No longer lame by assigning blame
I light a torch in the underworld
hoping she'll see the flame

In the dark I grow faint at heart
as one crumpled little body
rips my world apart

- Runaways 9
__________________________________

A language is a precarious lie
which tells us we do not understand
Understanding is only a means to tell us
that some unseen force is in command

That is the lie which gains our trust
and makes us believe we are piles of dust
but once our lost culture comes of age
ignorance will mark the presence of a sage

- Sage 11
__________________________________

Those who seek to emancipate all
instead come to enslave as a consequence
To force any agendas through intimidation
is to doom its intents to irrelevance

- Conscientious Objectors 15
__________________________________

Thy nobles are but pawns and thy outcasts, kings
as pomp and circumstance strip away the cloaks
of spontaneity held dear by the precarious spirit
which presses upon all men to break the wake of God

- Thy Valley is High 19
__________________________________

And as the crest of humanity
sinks slowly into the sludge of refuse
while the ungainly chart the course
for a ship of states
set adrift upon a sea of eternal greed,
shed a tear for lack of rain

- Quagmire 24
__________________________________

Efforts to educate are lost
as they tear you down to pay the cost
of keeping the walls of ignorance standing
and send you off for rehabilitation

Laugh hearty and play the knave
as you carry your insanity to the grave
unable to unburden yourself of truth
that you know in heart yet dare not speak

- Sane in an Insane World 27
__________________________________

That this very self is a part of a greater plan
soon follows from this and leads one to understand
that the very truth of being
lies in a conjunction of all hands

- Inre Gastion 29
__________________________________

Twisted machinations
and blackened gaits of fate
cringe the stout messiahs
who lie prostate at the gate

- Scares of Wont 30
__________________________________

The tide of time bears not
any mercy for the drowning
swept away by the flood of relentless subjugation
of a race which once was free
before the wealthy and the learned
defined what freedom meant

- The Eternal Yoke 40
__________________________________

What is not is our world and what is not is what it us
We are born into ignorance and live out acting thus

- Void and Null 41
__________________________________

Two very differing worlds
share all lands behind all boundaries
populated by those who chase their dreams
and those who live with despair,
two resultant outlooks which can never be integrated
dooms all futures on Earth

- Diatribe 44
__________________________________

Monuments to ravenous ideas rise as cold as the stones
which form their stoic base unyielding to the changes
that seek to chip away at the timeless void they seek
to keep humanity trapped in, unable to grow or to die

- Pillars of Stone 47
__________________________________

Stay free of them and ignore how they are condemned
by our indifference at their tragic way
of having to cope with the absence of hope
and the shadow of death every day

Live in a cocoon guarded by the goons
with the guns to keep them at bay
and kill your heart by living completely apart
from being willing to do what you may

- As You Walk Away 50
__________________________________

Judge me not by virtue of my ideas compatibility to yours
for you cannot know their true values without being me

Define me not by those standards by which you gaze outward
seeing only that which your palatability allows you to see

Measure me not for I am more than I may seem to be
because in my heart I am not caged by that which I am

- Measure Me Not 52
__________________________________

Still they asserted for the young to be proud
of the dictators and police state which wrought these things
for in the end the wrongs were made right and justice came,
albeit seemed a bit late

Both will helplessly forever read the official lines
and cheer their young down whatever roads their nations take
for neither are they innocent positive educations they seem,
they are the face of the states hold upon its youth

- Boy Scouts/Young Pioneers 64
__________________________________

Look down on me all you will
for I shall never look back up to you
Step on me and crush me
but you shall never beat me into submission

Take more than I could ever give
and you will still never possess me
Separate me from this world if you must
for if it is yours to control I do not want it

- Defiance 69
__________________________________

When there is ever more people
destined to fight for fewer resources
who dares ask they metamorphize
into brilliant creatures of virtue
free from the dank dark earth below?

Now our world is in another sullen state
but who will fight rationality enough
to reach into the depths of the human spirit
and pull up some wondrous new aplomb
to save us again from proceeding consequences?

- Triumph over Reason 72
__________________________________

Suddenly death is everywhere
and tranquil serenity is forever disrupted
by the disarming preponderance of fear
which sets in upon the mood of the day
preventing all from complete recovery

Overnight chaos becomes the rule
typifying the terror embroidered within
the troubled hearts and minds of the survivors
who wander through the shattered ruins
in the graveyard that yesterday was home

- Without Warning 74
__________________________________

Inseparably intertwined with its culture,
the individual is more myth than reality
still it is the myth that acts thus
and it is the myth that dies alone
at last separating itself from all else,
digesting slowly the irrational truth
that never was it a part of anything
but that all else was a part of it

- Individuals 84
__________________________________

Choose your star carefully
by letting your whole being decide
for the direction you take
may, in time, become you

- Pointed Stars 86
__________________________________

Where will it come from?
Where will he beat me next?
In the living room?
In the kitchen while I'm making his dinner?
Or in the bedroom after the kids go to sleep?

Where will he hit me this time?
In the face most likely,
his favorite target,
sadistically savoring the chance to make my private torture
visible to the entire world

- Where Next? 87
__________________________________

...what it was he was only now finding he did not know,
this newness, this undiscovered incompleteness
lying beyond each new turn.

When suddenly and brashly he demanded his immediate release
he quietly was told that he held no bondage to lose
and that anywhere he desired to be lay waiting
merely for the moment and chance for he to choose
for moments are like coins tossed upon an endless forture
waiting to be taken regardless of where or when, or whose

- Vestabur - Part II 96
__________________________________

Still here; Charles Williams novels; Not going Galt (or Gault) anytime soon anymore [updated]

I am here. I am now. I deal with that. Do I like or enjoy its pluses and minuses? Do I like what happened to make it possible? Do I accept it or fight against it? To all of the above, sometimes yes, sometimes no.

The 5D Notes- Part 3, January 2005

"I found the pieces in my hand,
they were always there
It just took some time for me to understand
you gave me words I just can't say

So if nothing else
I'll just hold on while you drift away
'cause everything you wanted me to hide
Is everything that makes me feel alive

The cities grow
the rivers flow
where you are, I'll never know
but I'm still here

If you were right and I was wrong
why are you the one who's gone
and I'm still here,
still here"

Excerpt from the lyrics of "I'm Still Here" by Vertical Horizon

Note: Begun with the idea of sorting out what it means to be human in accordance with perspective, i.e. how orientation within a system at a right angle opposed to gravity is the perceived to be the "correct" orientation and face to face linear forward perception is the "correct" way of sensing ones environment. (A perceived means of orientation for consciousness within a multidimensional system, which way is up" in 2D, 3D, 4D, etc.) This also was the breeding ground of the ideas which ended up in Assistwo's Perpendicular Universe Dream, this and a real dream I had as a child about being stuck to walls. Understanding gravity and multi-dimensional Universes go hand and hand and perspective is the key to understanding that as your perceptual environment is your actual environment much more than most people have any clue about.
        These points are key and relevant to my present means of interpreting how people could perceive environments in light of curved multidimensional spaces (4D, 5D) plus gravity.
        Outside of making these points, the rest has been done I am sure many times before by many people as an outsider's view of humanity. Mostly it is from what would or will be the beginning of a sociology treatise I will or would have written around 2009 called The Human Zoo, which I have been thinking about recently. I would not wish to write it any sooner, but felt like starting it now for this part for the reasons noted above. That is why it has to go through the other stuff it mentions first before getting to the part I wanted most to write about now, 4 paragraphs down, orientation within a system.

Intro to Humanity as would be seen from an outside comparative species perspective, Fall 2004

         ... Being in France might actually have made writing Humanity as Seen from an Outside Comparative Species Perspective possible (at least my version of it if that title has already been used) because pretty much immediately at the start of first thinking about it, I figured it would have been written (by me) in France in 2009. Not that I am bound by that pattern, bits and pieces of imagined or ideal futures remembered, but just as I would only have written The Power and the Mana on Haleakala, once I get it into my head of connecting what I write to a certain place and time (and sometimes external events) in the future, I either stick to it or don't bother.
        Anyone who has ever taken art seriously would know that if you can't make what you envision the way you imagine it should be, or at least close enough to how it is in your head, you wouldn't want to bother starting. And that makes sense as an artist. If your "vision" cannot be realized, it would not be your creation.
        But life is in the compromises of working with what you have. Sometimes everything not going according to plan is actually better than what you set out to do, but if you are a true artist, or a pig-head, you still would be pissed off. ...

Outsiders Looking In, Sarkocrats, Russian Arks, and my Ark, 5/31/2007

        I have stressed many times the need for people to think in terms of 4 or more dimensions. To me, this is self-evident. Those with sight (eyesight) tend to think in terms of "things" and of this "thing world" (Universe) and "thing beings." Geometry and how "things" are constructed is key to (understanding what lies behind) this type of thinking.
        But the experienced world goes far beyond 3 physical dimensions. Atoms are a quintessential 4 or more dimensional "object." Only through 4 or more dimensions can electrons "movements" through "non-space" between orbits be adequately explained other than the standard non-explanation, which may as well just call it magical. Also, the interaction between time and movement (electrons) requires multi-dimensional thinking without getting into observer/observed paradoxes.
        Yet consciousness trumps them all requiring many more dimensions to try to explain what it is and how it functions, defying time, even at times causation.
        It seems unlikely that humanity will ever be able to explain all of the implications of this and better understand what Universe we inhabit and how it functions while all of science is ultimately subordinated and subservient to the military for "strategic" advantages, especially in trying to understand the mind, for such studies and insights are always joined hand in hand with how to control it.
        Our aggressive nature and incapacity to pursue a global means to eliminate such mechanisms for controlling thought and progress, seemingly dooms us from finding definite answers about ourselves, our minds, and our worlds, and keeps those professing the most ignorant, ideologically-based close-minded approaches firmly in power, seemingly indefinitely.
        It is no accident ideologues seek to control and harness the military, for it alone has the means to suppress proving them wrong by eliminating research, suppressing facts, and vanishing or breaking or silencing proponents of alternative types of thinking or means of lessening the ever-growing "restraint" of the thinking processes of "free" men and women.

Atoms, consciousness, and military control, 5/3/2007
(and from the 5D Notes Part 6)

"Of Williams' works, this is the one that is best to begin with. I would recommend reading Plato or having a basic understanding of him before attempting it; it also helps to have rudimentary knowledge of the works of the Middle Ages and the Bible. The Unicorn as purity and Holy Kirke, for example, would not be evident offhand to the modern reader. That being said, even without knowing what was going on (which was myself the first ten or so times of reading it and still, to some extent to this day,) you will still learn and gain so much. For the types of people who do tend manage to get through this book and are familiar with the other works mentioned within it, intellectual superiority is a common fault. In this case, Damaris does not do it intentionally and doesn't even realize she is doing it. All she cares about are making little charts to compare the various philosophers and their ideas. She forgets all about the ideas themselves until they are forced upon her to near death. Hopefully we won't have to go through that to realize what we are doing, but this book can give you a near-death shock enough to perhaps do so. Most of Williams books leave you completely drained at the end of them, they are not like reading McDonald where afterwards you want to run around in a field taking in the beauty and picking flowers or whatever. You sit staring at the wall, shaking, and realizing how pitiful you are but also your great potential through love and redemption. Just a heads up; not a book to read when already depressed or weak. At the same time, if you think you are ready; it is probably proof that you aren't."

Review of Place of the Lion, by Alexa Chipman

Editor's note: [Song "Wondering Where the Lions Are"] Partially inspired by Charles Williams' book The Place of the Lion. ...
"I have a relative who is involved in one of those kinds of government jobs where they can't say what they do. The part you can say involves monitoring other people's radio transmissions and breaking codes. At that time China and the Soviet Union were almost at war on their mutual border. And both of them had nuclear capabilities. I had dinner with this relative of mine and he said, "We could wake up tomorrow to a nuclear war." Coming from him, it was a serious statement. So I woke up the next morning and it wasn't a nuclear war. [Laughs] It was a real nice day and there was all this good stuff going on and I had a dream that night which is the dream that is referred to in the first verse of the song, where there were lions at the door, but they weren't threatening, it was kind of a peaceful thing. And it reflected a previous dream that was a real nightmare where the lions were threatening."

-- from "Closer to the Light with Bruce Cockburn" by Paul Zollo, SongTalk, vol. 4, issue 2, 1994. Submitted by Rob Caldwell (on www.cockburnproject.com).

Note: Well, almost 2 years since the last (original new) post here. As Researcher would say, "But my bi-annual 2 year vacation isn't up yet!!! I'm going to call my Union of Unnamed Fictional Characters!" The pattern on 2D 3D 4D 5D Thinking Made Simple is/was/seems to be: begun in the summer of 2003; finished Book 1 in the summer of 2005; Book 2 begun in the summer of 2007; so this pattern kind of makes me wonder about what might happen in the summer of 2009. Not that I live by, or try to live up to, patterns, but I do find them interesting, and occasionally worthy of recognition. On to new posts... (and maybe new chapters and verses someday soon)

        In continuing the theme of sometimes using this blog to give the backstory of posts for my other blog, Truthrevival.org (itself needing some revival of its own lately these last few years), I will attempt some backstory to the 3 planned (now past) retrospectives or "clip show" posts. The first and the third were to be connected and both dealt with the idea of a disaster (nuclear) averted with Iran. As I said in the alternative 3rd retrospective, when I did not see the world headed in that direction anymore, I decided not to write the 3rd one. Eventually I did write a similar third one, but not in the intended way. Both the first, "The Lion, the Phoenix, and the Serpent: To Renew or Revive, Looking Back on One of Five" and the third (to have been called) "Searching for Langston's America with the "Ghosts" of the LOC (Library of Congress): Lines on Maps, Lines in the Sand, and Bomb, Bomb, Bomb, Bomb Bombing Iran," each was to have included quotes from Charles Williams novels.

        The first retrospective post, "The Lion, the Phoenix, and the Serpent: To Renew or Revive, Looking Back on One of Five" came off exactly as intended, with the quote from "The Place of the Lion" by Charles Williams. The reasoning for choosing to use a quote from that novel was because I wanted an excerpt from the song (Wondering Where the Lions Are) to be there at the top, and it was about a nuclear war averted, or which did not happen. And because that song was based in part or influenced by the "The Place of the Lion" by Williams, via a dream Bruce Cockburn had. Also, that song kept running through my head when thinking about a war with Iran. When finding out what the song was actually about, I knew how I would structure the first of the 3 planned retrospectives.

        The third retrospective was to come if a war with Iran was close or imminent, titled as above, and the quote to be included with that one was to be from "Decent into Hell" which I thought would be appropriate considering if a possible, and unnecessary, much wider war was seriously being contemplated, or threatening to throw itself into the mix. Both of these quotes and the form of the posts were decided upon before I actually read the books, which is kind of backwards, but sometimes how things work, at least to me.

        So when actually reading the books, probably, this time around anyway, for the first time (unless I read them as a teen and forgot about them) I was simultaneously looking for the right (remembered or anticipated) quote appropriate to what I was going to write about. With the third and last retrospective and the novel "Decent into Hell," the passage was apparent, self-evident, and could only be one paragraph which was perfect, exactly matching the theme: a disaster averted. Luckily I put off writing this post so long that someone else (Rev. Stan Bohall) typed it up a few months ago and put in on the web on his own blog so I can just cut and paste it and link to it. That quote never used by me, in the intended way, is below from "Decent into Hell" by Charles Williams.

"She looked out of the window. There would be few more evenings during which she could watch the departure of the day, and the promise of rarity gave a greater happiness to the experience. So did the knowledge of familiarity. Rarity was one form of delight and frequency another. A thing could even be beautiful because it did not happen, or rather the not-happening could be beautiful. So long always as joy was not rashly pinned to the happening; so long as you accepted what joys the universe offered and did not seek to compel the universe to offer you joys of your own definition. She would die soon; she expected, with hope and happiness, the discovery of the joy of death."

http://quest-min.blogspot.com/2009/01/descent-into-hell.html,
January 11, 2009

        That theme, potential disasters which never happened or were averted, also applies to a new intended to be written post for Truthrevival.org, (and a related and intertwined new "multi-verse" post soon to appear here) seeing as I can seemingly finally break onto that long promised "new ground" soon. It would be nice to write again in ways or on topics decided long ago now, but the time was not yet right until now. As Carly Simon sang, things are "coming around again."

        But this post was also to be about a different paragraph which jumped out at me while looking for a good quote from "Place of the Lion." That paragraph is below.

"He doesn't," Richardson said. "When we pick him up he has got right on to the ninth circle which is that of goodness only knows what and is attributed to the seraphim, and he dithyrambs on about the seraphim without giving any clear view of what they are or what they do or how one knows them. Then he quotes many texts about angels in general and becomes almost pious: the sort of thing that Erasmus might have thrown in to placate his enemies the monks. But there's a bit soon after which may interest you- here we are- 'written in the Apocalypse. For though these nine zones are divided into a trinity of trinities, yet after another fashion there are four without and four within, and between them is the Glory of the Eagle. For this is he who knows both himself and the others, and is their own knowledge: as it is written We shall know as are known - this is the knowledge of the Heavenly Ones in the place of the Heavenly Ones, and it is called the Virtue of the Celestials.'"

The Place of the Lion, Charles Williams, 1931, Pg. 101

        That paragraph set wheels in motion in my brain remembering the logic behind a drawing I made. I might had missed it but it came right after the line about a trinity of trinities, so when put next to what came after it, I could not miss the coincidence which triggered the memories. The third book of poetry I had written, as I had written elsewhere before, was to be in the form of 3 sets of 3 parts, or a trinity of trinities. The fourth book of poetry was called "Quadranine" because it was the fourth book of poetry also to have nine chapters like the previous three. Thus a fourth set of nine, thus Quadra-nine.

        With the cover for the third poetry book I wrote, "Triumvirium," the cover for it was made as 3 overlapping right triangles in a circle, with Roman/Greek columns around them because the title was based upon a Latin word, "triumvirate" and that is a plural (possibly correct or crudely correct) version of the word, for more than one triumvirate. Though having nothing to do with rulers, but in this case, as 3 sets of 3 things that rule our universe (past, present, future, etc.).

        I wanted the cover for Quadranine to also be a geometric design in nature, but somehow to be symbolizing a combination geometrically of the numbers 4 and 9. I decided upon a 4 sided pyramid (5 sides counting the base) like those in Egypt, with a 4 sided base. But it was too simple and really did not work other than 5 sides altogether but 4 above the ground, thus the 4 and the 9 (5+4). But that really did not work. 5 edges, 5 points, 3 and 4 sided edges, nothing that really combined the numbers 4 and 9.

        Then I thought of a pyramid that also extended below the ground in a mirror image, thus it would have 4 sides above the ground, the one side in sync with the ground, the base, and 4 sides below the ground in a mirror image. Thus, 4+1+4=9. I liked the symmetry but did not know how to draw it at first. The 4 above and 4 below and one in the middle has been used in symbology by others and Williams as mentioned above was literate in Medieval Christian symbolism (I am somewhat and links to why I chose quoting Williams from these books before reading them), but the way he wrote that concept as quoted above was slightly different, not 4 above and 4 below but "four without and four within."

        I did not like the idea of just using a 4 sided pyramid on the cover of Quadranine, nor even one mirrored below it. I then thought of using the same symbol or shape (an octahedron with a line in the middle where "touches" or is in "sync with" this world, a "base") configured in a cube shape with the 6 four sided pyramids pointing to the center of the cube, the bases forming a cube, and the other 6 pointing away from the center outward from the dice shape as points. "Four without and four within..."

        I liked the idea of this adding the number 12 to the mix, but the problem was how to draw it so it would not look like a mess (as much as it did when I did draw it). I then thought both representations together, a mess of 12 four sided pyramids (6 octahedrons) in a cube shape with 6 pointing toward the center of a cube and 6 pointing away, next to a regular 4 sided pyramid. But the 6 pointing away was to be the same concept, a mirror image of the other "outer" six but pointing into a "ground" equally from the other "inner" 6 and that "ground" touching the edges of all 12 pyramids at once, a 3 dimensional curved "ground" (the cube between the 12 pyramids) which was really flat somehow (from a 4 dimensional viewpoint, I understand now, seeing a 3D shape as flat, a "ground" as we see a 2D plane as flat) but also at right angles to each outer and inner pyramids along the edges of the cube. Also that the tips and edges of the outer 6 meet up somewhere away exactly the same way as the inner 6, equally mirroring how the 6 inner ones touch, only seen as such when viewed at a different angle.

        This was representational of a 4 dimensional object or curved 3 dimensional space around itself. Just as every three dimensional object is a representation of a 2D plane or "space" curved around upon itself, 4D "objects" can be envisioned as curved 3D spaces or universes curved back upon themselves forming that "surface" area. I know now that that was what I was thinking of but could not fully recognize it then in that way yet. When I later that year came upon a wireframe drawing of a tesseract, (the exact same concept or drawing from within middle inner cube when the cube in the innermost area is not a cube but is instead seeming to be a single point) I saw that that concept was more easily drawn and recognizable, and was also an easier to understand concept of 3 dimensional space curved around a back upon itself, and in a single symbol, not two (the way I had previously represented it), both of which were confusing and were two different views upon the same idea which had to be combined mentally to be understood.

        As I have written before about things like this, I can see how the same concepts and ideas have crossed my mind and criss-crossed my experiences at different times in my life, and this idea of curved space has come up at various times and various ways in drawings and other things. I did not see it clearly at the time, but they connect together, different aspects of the same elephant so to speak. Eventually forced to deal with or meet these concepts head on, I have a bigger experience pallet to see how they fit together over time and the perspectives I was being moved towards, sometimes quite unwelcome, but in a logic progression. The 3D 4D 5D Thinking Made Simple and the related "5D Notes" were logically deducible from recurrent themes, images, concepts, drawings, and imaged 3D and 4D sculptures, in my life, almost predictable or preordained to be written or drawn eventually. I did not wish to always think in or along such lines or about such things, but always saw it as a road or set of events reappearing at different times and stages of my life in different ways.

        So why then, or at that time did I try to dig in or hold on or follow it. It related to what I was trying to figure out, things about time, a bigger palette in which to "fit" the universe into, and that it just was always there popping up. [Aspects of what I was trying to figure out ran through all of my notes in spots but a few pertinent parts or shades to this now are below from Part 2 and 3 of the notes.

You can't run away from something that is a part of you. Wherever you go, there it is. It is in a sense inside of you, and integral part of what you are. Everything that you have experienced, could have experienced, what you are experiencing now or might have been experiencing now, and all that you will experience or could possibly, all of this is a part of you. You can focus on some parts and forget others. Indeed, you cannot see all points from any one point anyway, but all and everything else you can and sometimes do affect by your existence, all this or these "other" things in your realities are all a part of you. Moreover, without them, you are not or nothing. How they all must fit together, the organizational structure you define them by, and they you by, is what connects which points to any others, or which "theres" you can get to or see, from which "heres".

Geometry is not mathematics, though geometry may use mathematics. Mathematics are abstractions, geometry is inherent within physical reality and describes it, or in a sense defines and creates it. Geometry was physics before physics was physics, and geometry will replace physics again. It will just be a higher order of geometry than people now can understand or relate to, but the universe is nothing if not symmetric. All seeming asymmetry is just following patterns we do not yet understand or have the means to recognize how they fit together with each other and the symmetries we understand already, though incompletely, without them.

A goal which required understanding multiple dimensions across multiple timelines from multiple individuals points of view. In short, how just about everything one can imagine about the universe fits together. Not optional. Required. And soon. Perspective-wise, unification theorists are like children playing with toy blocks (of a single 3D universe or timeline), where I must figure how multiple overlapping 3D closed spaces or universes fit together by playing with tesseracts (comparatively speaking in terms of goals only, I don't have any real tesseracts to play with, though physicists could really play with blocks if they really wanted to :-)

People think you can understand the Universe and explain everything via one timeline and one definite reality. This is perceptual. It is a lake, but calling the surface of the lake you see in front of you, and think that surface is the whole lake. If that plane is the lake, then imagine many lakes beneath it stacked. The real lake would be all of those "surface" lakes crisscrossing in ways you cannot imagine seeing it only as a 2D sheets. The same with a 3D plus time universe, you must see that as only as the surface of the lake crisscrossing in ways you cannot imagine viewing only one timeline as real. Since I try to know the whole lake at once, all possible timelines, I still pay attention to the surface, but know that surface is not what I seek to understand and instead focus on how to think in terms of the whole lake I can still even yet only see parts of it at once, though gradually finding new organizations or ways to understand or relate to "depth" dimensional ideas as well, which I am beginning to comprehend.]

Thinking I was dying (at times my health was very bad) or that WWIII (most won't know how close we came) was about to happen unnecessarily, that time was running out so to speak, trying to force open that door was really the only logical thing to do. Stones not overturned and soon seemed no longer able to be reasonably put off and still have time to be overturned later.

        At one point my health was so poor, heartbeat so irregular I went into Walmart before going home. I feared I might not even make it through the night and wanted to be around people just in case that would be my last chance to see people at all. It is not a perspective that comes cheaply or is sought after, but is rewarding. It is wanting nothing from anyone, just to see what there is to see if a few more hours or a few more days is all that you have.

        One of the lines from my "5D" notes, like the last post here about the dead bird, also very short and cryptic was "Road to south side of Maui." It was from January 2005, my future or future choices or paths was narrowing greatly for reasons other than health, but just as seemingly great a lessing potential of futures to be lived growing narrower and narrower, fewer and more precise ways to go, that to remember that time, those events, and that concept I wrote down... "Road to south side of Maui."

        What it refers to is the one and only time (so far) that I drove to the south side of Maui from the southwest side. The road kept getting narrower and narrower, I began getting more and more afraid of damaging my car, getting stuck or hitting another car (sharp turns). Eventually the road narrowed to almost a single lane through a small area of trees I could not see beyond and I was sure I was going absolutely nowhere. But I did not turn back, risked hurting my car (low to the ground) going over what I think was a cattle grate, and getting stuck, and literally was in awe on what was on the other side. The road opened up again just beyond that point to not be so narrow and the scenery though desolate and plain, no trees, no green at all, just rocks and cliffs and ocean, it was just jaw droppingly amazing.

        Not to say that is what death is like, but I was glad I did not turn around that day, and reassured myself at the time I wrote that line, by writing it, hopefully that after going forward through that time, a new vista would open up again one day where I would find myself somewhere beyond what I imaged before and in a new set of circumstances in an unforeseeable or unforeseen place. I have said in other places, I have long since have lost my fear of death, even had at that point, and worry more about the narrowing of choices more than what lies beyond any narrowing if the one road that is left leads one day to none.

        Moving beyond it or getting through, one way or another, will take you somewhere else you can't see around now, not for certain or with perfect clarity anyway. And if there is to be nothing after it, then you have nothing to worry about. No car getting stuck in the middle of nowhere on a road a tow truck might not go to help you. Not much to care about at all really. But if there is something that comes later, prepare yourself to be surprised. It, like wanting to know of such things, is almost inevitable, just in ways you can't imagine or see or understand yet because you have not experienced it yet. But like everything you have not done yet, or even might do, is a part of you now in ways you may not understand yet either.

        As I wrote a few years earlier similarly with even more self-assurance, and closer in time to the big changes I was going through, "A way to go forward will always appear as opening before you. You cannot go back until all the ways forward have been traveled, tried, and exhausted, and even then what seems behind you exists only ahead and can only be reached by going forward."

        And even more so, "Reality is full of truth you don't want to know and would rather not think about. Enjoy your ignorances while they last, for someday you will wish to know and think of them." And back to the nearer present, from the most recent post at Truthrevival.org, yet still quoting those same days and time in my in the past, "And in the end, not realizing it, not conceiving of it as an option, letting some truths go unknown until the end of time, it is not even a possible viable option. Truth will seek us out to become known, even and most often when, we spurn it."

        Time to move on to newer ground. Been quoting myself too much for years now without bothering to try to be saying anything new or notable or quotable anymore. End of clip shows, barring WWIII of course.

Hazy beginnings, Abrupt Ends, Dreams Overshadowing, and Concentrated Notes

(Note: This was written, I think a year ago when retyping The Heretic Papers, originally titled Dead Bird. I am putting it here because it is inter-related with, and as a compendium to, the Bicycle Post on TruthRevival.Org.)

         The question of deciding when the 5D Notes began is not an easy task. What is the beginning of anything? Even of yourself, you cannot say you began when you were born. To understand how that came about, you would have to include the story of your parents, and how they came to get together. Then you would have to say where they came from, and so on and so on. Everything's beginnings are obscure, a hazy line of what you think is relevant which produced the outcome you wish to say is separate from what came before it. So too it is with my deciding when my self-titled “5D Notes” began.

         To go back to the earliest point in a nearly contiguous line without years of gaps in-between, I would have to say the earliest possible answer would be with the Heretic Papers. Like the 5D notes, the Heretic Papers were mostly sort paragraphs written compulsively on a variety of topics with no particular theme or segway between them. They were just bits of thought of things which I did not work into Towards Tomorrow when it ended but could not stop writing or thinking about them either, beginning pretty much to the day after finishing it. After getting a lot of these notes together, I thought they were pretty good, and that they should be put together somehow into a collection, for myself only, for me to reread them at later times. And I then called this the Heretic Papers.

         But the overall theme if it could be said to have one was not the same as in the 5D Notes. Some of the thematic ideas within the Heretic Papers found a new form in Deconstructing the Universe which started shortly after gathering together these notes. In some ways Deconstructing the Universe was a reformation of the Heretic Papers into something less heretical and more organized and (somewhat more) coherent.

         Yet there is a great difference between how I thought before and after Deconstructing the Universe. In many ways you could say I had become a different person, I had grown somehow. So though the form was the same and the time frame was a year or so (or less) between the Heretic Papers and my new dividing line of when the Notes began, I would have to say another beginning came after Deconstructing the Universe was finally done, though short paragraphs were also included at the end of it as well, thus further blurring an exact point of a beginning of the 5D notes which came after.

         When working on PolSci.com (the first one) in early 2004, I the first put the notes into an organized form and called them the 5D notes. They were published before that on the Internet as just a group of paragraphs and sentences about 4D space, time, and other topics like that, with politics and other social comments as well thrown in. When deciding at that point where to start it, I drew the line at when I moved to Lithuania before starting school. At this beginning point, I figured it started with a series of drawings called the Dimensional Contortionist Escape Artist, and mostly free-formed out of ideas about multidimensional thinking. It was just an explosion of thoughts forming around ideas about time and space which became a running theme in the 5D notes, and this was a valid starting point to choose, but not the correct one.

         Before getting to Lithuania, there was a running commentary similar to the notes which I did just before my trip away from Hawaii starting 3 months earlier. In looking backwards in time a bit later in 2004 or 2005, I then changed my mind and decided that these few months of notes were also in a way not separate from the 5D Notes, and with later versions of PolSci.com, I added them as well, dubbing them the Pre-Notes. I saw them as definitely more like the later notes than similar to anything else written before, and a new definite break in form and purpose of writing occurred then. And then as now, they were also dated sometimes on which days they were written, like a journal.

         Two paragraphs were added at the beginning of the Pre-Notes because I thought they were really well done. I knew, though, even as I put them there (and they were only a day or two away from what I now consider the absolute beginning of the 5D Notes), I knew they did not belong there. I pretty much concluded then (when compiling the Pre-notes) and now that the pattern of writing I would later term the 5D Notes began with the dead bird.

         That day (7/23/2003) is when they became notes to myself of things to remember later as well as things others might read and find useful. It was then quite consciously writing a type of shorthand to myself to remember things, as I said in other things, probably RCP2, to remember things as I was experiencing them, sometimes relearning them, as my brain was rebuilding itself after the accident.

        Around that time (mid-July 2003) I was for the first time not getting dizzy all the time and was beginning to get over the effects of getting hit by a car, thrown 6 feet in the air, and landing head first on the pavement. This was about 6 weeks after the accident. I had said in poetry as far back as Triumvirum about my mindset changing over time, but after the accident it was changing extremely rapidly and constantly, continually, and franticly trying out new ways of thinking and analyzing and categorizing perception, and then storing them and moving on to make new ones at an extreme pace.

         The introduction to Deconstructing the Universe can give some indication of the level of wonder and awe and joy I had at that point about just about every aspect of my life and life in general. Just doing anything was incredibly fun, and riding my bike was at the top of the list. I set out that day (7/23/2003) to go down the hill along the highway and there was a bird at the side of the road where I was riding.

         To give an idea of how I rode my bike, I would sit up straight, not have to hold the handlebars, and was free to twist (up to 180 degrees) and turn whichever way I wanted to look for many seconds at a time without the slightest fear of falling over or hitting anything in the road which would cause me to lose balance, nor concern the bike would turn in a wrong direction. I more or less assumed the bike would go where it should and I could concern myself with looking at clouds, trees, whatever, fully and in total rapture, and I never was proven wrong.

         When I came up to the bird, it took off because I came near to it, but it flew exactly along the white line on the side of the road where I was riding. Sitting there straight up with my arms by my sides with a bird flying immediately before me at the exact same speed so close I could have at any point reached out and pulled a feather off of it. Not just for a second or two but on and on. It tried to get ahead of me and landed a few times but always right in front of me and had to take off again, and again it would be just in front of me almost dead level with my eyes.

         A flower or a tree in those times was amazing to me, this was just mind blowing, almost spiritual. I was given for about 30 seconds or so seeing what it would be like to be a bird, or a camera following a bird in flight just a few feet behind it. I was transfixed in total awe of the experience and it made an unbelievable impression on me. My thinking at that time could go so fast I could almost seem to watch its wings flap in slow-motion and then speed them up again.

         There was no me, and the bird, separate, just the experience, and then it was over in an instant. With my mind completely focused on the bird, and the experience, suddenly my mind said no and I saw it happen almost through the birds eyes an instant before it did. The bird finally turned away from flying exactly in the path I was gliding along not pedaling, coasting down the hill with my arms at my sides, and it turned and flew head on into a SUV's windshield traveling at a high-speed, bounced off of it and was bouncing up and down dead on the side of the road.

         Going from a feeling of total bliss and oneness with the experience, and seeing the bird get killed right in front of me and dead an instant later left me in shock of what to do. The humane thing would have been, seeing it was most assuredly not going to survive even if it was not already dead, no way it could have lived through that, would have been to walk over and step on it in case it was still alive and end its pain. But I could not. I could not bring myself to do that.

         I can't say if what that related to was true, but it cut close to a dream I had which seemingly will never be answered. It was similar, it was different, yet everything connects or can connect, if your mind or your feelings choose to see them as connected. Probably the instant before the bird died was one of the greatest feelings of awe at being alive I had ever had, it was magical, wondrous at a time where everything was wondrous and magical. This was merely many times more so, but then it changed.

         The transition was abrupt, and a bit shocking. One second not thinking, not analyzing but just being and experiencing in totality, just feeling joy and wonder at what is before me and then, shock and confusion at what does it mean, what should I do, and not having an answer to a question I never would have anticipated needing to have an answer to. That is what life throws at you whenever you become complacent, if you are lucky.

         You may not see it that way. Neither may the bird. But when you get over the shock, you may discover as I did, it was necessary to grow beyond how you saw things before, no matter how much more innocent and carefree and better it was. Both levels of seeing and experiencing you need to know, and the transitions will always be there triggering them, and they are a part of you because the experiences are there to make you feel, good, bad, joy, grief, to make you feel and know through interaction with other living things, what is means to each to be alive, both separate and how you fit together to create those experiences within both, and each within each other as well.

        All of that and more summed up for me in one single line in the Pre-Notes. (The 5D stuff is even far more concentrated in what a few words here and there mean to me and the concepts and models of thinking they represent.)

                7/23 (2003) Dead bird

The Quickies page has many of the best lines from the 5D Notes all in one place. Not the deepest or most complex concepts in the Notes, but good turns of phrase and a few good self-contained short ideas.

Breaking 'Stick of History' and Inventor's New Goodbye

Assistwo did not look particularly pleased upon walking into Inventor's office.

"Well," he began, "its almost official. We will not be in Book Two. It seems we are no longer necessary."

"That's hardly news," Inventor responded, "who or what is really necessary?"

"Not us, evidently. We have been replaced. I think my replacement is an alcoholic. You wouldn't want to know about yours. Think estrogen."

Assistwo knew Inventor did not like to be reminded of ongoing concurrent stories in higher dimensional levels. Though most of what Inventor did was to relate happenings to more dimensions and make then more easily understandable, he tended to find the characters and dialogue in the overall story as annoying and simplistic as his replacement, Creator, did.

"Well, I said we would have to leave it to another generation to get to the best parts. I just hope she is up to the the task," Inventor added, letting on he too had taken notice of his own replacement in the story.

"So before we are relegated to a clips show, have you thought of any new ways of explaining the 3rd dimensional axis?" Assistwo added, hoping this would make obsolescence easier for Inventor to accept. That he betrayed interest in the other stories showed he might not be happy as just a spectator in things to come.

"Well, as a matter of fact, I have. Behold, all 3 axises visualized," Inventor said proudly showing a triangle.

"Its just a triangle," Assistwo said. "You are a few thousand years behind the curve on that one."

"How about this," Inventor said showing three circles overlapping making a curved triangle in the middle.

"Ditto," Assistwo said. "Now that we have been pushed out of the book and relegated to a clip show, you don't seem to have that same degree of insight, authority, or relevance anymore. Creator is my new God," Assistwo joked.

"Moving on," Inventor said, "if we imagine our 2D universe in a ball shape with two axises we can understand making an X on the top of the ball anywhere in front of us, each a 90 degree angle, and another X of 90 degree angles at the opposite of a curved 2D universe, which would be the same as the "surface" of a 3D shape, there would be 4 other X's halfway across the universe in each direction along the lines of this X in front of us. When put all together they would show 3 planes cutting the sphere shaped curved 2D universe we inhabit into 8 pieces relative to the corners of our cubes. The parts of this that would intersect our space would be triangles of vast distances where the 90 degree angles in front of us would eventually with the curvature meet perfectly together."

"That would mean that a tetrahedron would be the same illustration of 4 axises to a 3D curved universe. Seeing 3 planes meeting together in front of you seeming cutting space into 8 quadrants, and 8 more at the other end of a curved Universe, with 6 more X intersections in-between," Assistwo added. "Each of the "corners" of a tetrahedron would represent 90 degree corners like the edges of a cube, curved tetrahedral 3D "corners" of a 16 "quadrant" shape."

"Correct," Inventor added. "Each of the axis which are perpendicular in reality slightly bent of a curved reality flatted out a bit to be visualized to us."

"I would think this is leading us to bent time, as that is the way the story is progressing but if we are no longer to be in it, there is not really any point in trying to go in that direction," Assistwo said glumly. "Plus," he said slyly, "if World War III is about to begin, there would be no time or point in it anyway. Bent time or not, no time equals no time."

"But never rule anything in or out," Inventor corrected. "Getting here once, and getting here an infinite number of times are one and the same thing. The new title of Book Two, Infinities Overlapping: Two to One to Two is more telling than you know, but I will leave that to my successor to deal with or try to explain, should she even have time. Sad to think of the utter waste and pointlessness in humanity in cutting everything short now."

"Damn, out of time yet again, and all of this only to set up a stupid clip show for a stupid blog!" Assistwo exclaimed. "Foiled again, just when it was getting to the good stuff."

"Don't forget," Inventor reminded, "if it weren't for that end appearing on the horizon, we would not have had something to move toward to have taken us to where we are now. For us, in our case, that end was literally our reason for being and beginning all of this in the first place."

"True," Assistwo said looking bored, "but your name isn't Preacher so get on with the clip show already!"


All of the above and more to address, the ridiculous line, "stick of history" below which I had to laugh at. With so much bad news in the news this week, it was a welcome change. There was no way, though I tried, to work that into a dialogue, but it was such a badly phrased sentence, followed by a worse one, that I had to reminisce about the stick and time expert. It was otherwise a fair article, but as Inventor would say (and did) since "my favorite topic has come around again, and I couldn’t sit this one out."

"There is a parallax view of the stick of history which enters the water but seems to be discontinuous rather than a straight line. The distance of a historical account disinfects the moral dimension of events; we may be shocked when we read of the torturous experiments of Ewen Cameron and Sidney Gottleib, for example, doctors who participated in MKULTRA, a series of CIA experiments with hallucinogenic drugs, electric shock, and sensory deprivation, but because those experiments ended in the seventies, they read like scripts for a horror movie instead of a daily newspaper.

RICHARD THIEME (http://www.counterpunch.org/thieme07032007.html)

"It still has a square shape though we can no longer see it from that perspective," he would say. He would then take a 20 cm by 1 meter sample stick and turn it in front of someone.

"Watch as I spin it," he would say. "See how it appears to grow into 1 meter when both ends are at an equal distance away from you, but shrink again when pointing directly at you?"

2.2 Where did the cubes go:Everyone freaks out

"Not the stick example again," Assistwo moaned.

"Be quiet. You stand there and watch the stick as I spin it. See how it only appears to get wider and narrower as it moves horizontal to you."

"Pleeease. I am not new to perspective. You are not demonstrating anything I do not fully understand already. You admit I am a peer of yours, though I have not heard you use the term "equal", but I can wait for that patiently until or when it ever comes, but surely a peer of yours in the ability to think 3 dimensionally. Why, after all this, demonstrate 2D perspective to me?" Assistwo asked impatiently.

"Because you said it yourself. Every time you open your eyes you see the world from inside out. This new example seeks to show the stick and the spinning from inside out irrelevant to position or outside measurement. It seeks to measure the stick only in relation to itself which is how the stick sees itself, to the Universe outside the boundaries of the stick, we don’t matter. We can only understand the matter of anything only from within it out, not from outside trying to measure in, or its shape relative to a world that exists only exists outside its borders, and may not be needed to it at all. "

2.4: Flying off the edge: Problems with Suchness

"... 2D people can spin things like Inventor likes to do with his stick. When we play spin the bottle, it is the same thing, spinning it through two dimensions horizontal to the ground, or along a horizontal axis. Inventor’s world only has 2 dimensions so it only has 1 way to spin things. He would love our Universe. He could spin his stick two different ways."

"I don’t think I like the sound of that," his assistant remarked. "Don’t we have 3 axises to spin things on? Couldn’t he spin his stick 3 different ways?"

"Yes, but only two would seem different. He usually used the stick to demonstrate perspective though more likely it was a model for some other purpose as well. When he spun it most, he was usually trying to show perspective, except that last time when he did it to show how he imagined his panels to be turning on a vertical axis though he could not "see" the vertical axis."

"Yes, that really bothered Assistwo. He thought he was doing the other thing with the stick," his assistant said.

"Correct, using it to demonstrate perspective on how, when spinning, it only seemed to get larger and smaller when from the stick’s point of view, its shape never changes."

3.1: Contemplating Innerspace and stick spinning in 3D

Assistwo interrupted Inventor. "I have to demonstrate the positive and negative aspects of the puzzling 3rd axis or viewpoint essential to how your cubes work to a bunch of investors tomorrow, and I was wondering how you used to demonstrate this."

"Everyone seems to be wondering about that these days." Inventor said. "Everywhere I go all of a sudden people ask, "Explain how you demonstrated the 3rd axis to people so they could understand." It used to be, what is a cube and why did you want to or bother to build one. Either everyone conceivable has already asked me that now or my whole world has gotten thrown off onto that 3rd viewpoint. Hey, that gives me another new idea on how to explain it. For me, there are at least as many ways to imagine and explain that viewpoint or the so-called 3rd axis to people as there are metaphors in this 20cm by 1 meter stick."

"Not the stick again," Assistwo moans. "Sheesh, can’t you explain anything without that."

"No, none of them include using the stick. I just said there were as many ways I can explain the 3rd axis as there are metaphors I can use that stick to demonstrate with. But now that you mention it, I just thought of one more for each."

4.1: To confuse or not to confuse: Problems with the 3rd Axis

"I take it time is involved here," his assistant guessed. "I remember it being said that it will come up more and more now. Didn’t Einstein say that time was a 4th dimension in that we move through successive 3D worlds stacked together as you just described?"

"Yes, time is the wildcard everyone uses to give them that extra ace of perception they cannot directly perceive, but think they do. No matter how many physical dimensions we can directly perceive, we can always cheat and use time to imagine one higher. Inventor did it with 1D worlds to illustrate his own 2 dimensionality, and to describe a 3D world as multiple 2 dimensional worlds over time. Einstein used time to describe multiple 3D worlds strung together. But we are talking about 4 physical dimensions plus time. Physical dimensions we can move through freely in either direction without causality problems. Time as we perceive it runs in only 1 direction. Riding time is like riding the blast wave of a star going supernova. It spreads out in all directions but can only be perceived as traveling in 1 direction, away. To be in time is to be forever locked within the edge of the blast moving outward as the rest of the blast/event zone and thus in that direction or place, it never seems to move but you cannot step outside of it and must travel in lock step with it. Time is a different animal than a special direction but can be used interchangeably as a wildcard substitute for a spacial direction for understanding 1 dimension higher, but cannot actually take the place of one fully for it is of a different nature." Researcher said.

"Ok, I take it time is more complicated than your cool sunglasses. I take it we use time to imagine a higher physical dimension because time, like that extra physical dimension, can be thought to string together multiple dimensional realities you normally experience so you can "see" or imagine you see what it would be like to step "through" multiple dimensional Universes of your own reality. How else is time important?"

"Stick spinning," Researcher said.

"I think you are trying to see from Inventor’s perspective a little too much," his assistant joked. "You are even beginning to relate everything to that."

5.3: Perspective, cheap sunglasses, triplanes and time

"Nothing lasts forever, not even time," Inventor began, "all I really said was now is not the time to be discussing too heavily the ramifications of space and time being completely interchangeable, and I still believe that to be the case. It is still not time to go there yet. However, my favorite topic has come around again, and I couldn’t sit this one out."

"Oh no," Assistwo said bracing himself, "not again! Please don’t tell me."

"Yes, that is right, ball spinning!" Inventor said smiling. "What, you thought I was going to say something else?"

"I am not touching that one," Assistwo said, "too easy and too many ways to go, I will let you continue without comments for awhile."

"Ok, I will take the ball from here now, so to speak," Inventor began. "Stick spinning, and my new favorite, ball spinning, illustrates spinning on one, two, and three axises. You can spin a stick on two axises but it is not as fun as spinning it in only one direction, plus you can’t paint spots on it."

Assistwo was beginning to turn purple from restraining himself from making a comment on this.

6.4: Mapping 4D objects on spinning spheres

"Assistwo, please get me my 1 meter by 20 cm stick I use for demonstrating things, and withhold the comments please."

"Why would I say anything? Why suggest I would yet again suggest you demonstrate something for once without dragging that thing back out. Why would..."

"Those are the kind of comments I meant to withhold, please."

"Yes, my Master. I shall speak no more against you. You are my God."

"You are not irreplaceable, you know," Inventor suggested.

"Maybe, but I *AM* irrepressible, that is what makes me me, and why I am still around. Here is your stick. I won't tell you what you can do with it."

"Ugh. Ok, here is where this justifies that. I will stay here and you place the stick in-between us so that both tips are the same distance apart from each of us in the middle of the room," Inventor said.

"Oh good, are you finally going to show how the tips curve toward me and toward you at the same time if the middle of the stick is in a direct line between us both?"

"No, but thanks for pointing out what I am NOT ready to do yet. Every time you get ahead of me, it distracts away from how impressive what I do say is."

"Maybe it makes it look more simple in comparison? Ok, wacha gonna do with da stick 'dis time?" Assistwo asked genuinely curious.

"Nothing. This time the stick is just going to sit there. You and I are going to do all the work."

"Ok, I get bonus points for withholding comments on that line," Assistwo remarked disappointedly.

6.6: Omoglatroning and stick spinning in reverse

"... Looking at it from outside it and thinking we know how many dimensions it currently exists within is impossible without a new math, map, or understanding of its internal structure or order."

"So it’s back to inside matter again?" Assistwo asked.

"Isn’t it always?" Inventor asked back, "By the way have you seen the new motto for my door?"

"Another one?" Assistwo shrugged emphatically.

"Yes, two on each side now, it needed balance," Inventor joked.

Assistwo went outside the door and read, "There are no objects, there is only matter as a whole. There are no dimensions, there is only space as a whole. There are no minds, there is only consciousness as a whole."

"It seems like we have a long way to go still yet," Assistwo said when entering the room again to Inventor who seemed to be getting ready to leave.

"If not us," Inventor said, "then those who will come after us. The horizon to how far we are permitted to go at this time is approaching faster now. We must stop for awhile or risk sailing of the edge of our 2D world."

"I don’t like the sound of that," Assistwo said grimacing. "If possibly not us, then at least tell me what’s over that horizon in case we don’t get there ourselves."

"That the same perspective or space at different times is exactly the same and completely interchangeable with different perspectives and points in space at the same time," Inventor said moving toward the door.

"Heavy," Assistwo quipped. "I hope we are the ones who get to try and explain that one. I don’t like the sound of falling off of or moving out of phase or sync with the 2D world."

"No," Inventor agreed, "that does not seem desirable from any possible perspective from within it. From an outside perspective, who knows?"

"Certainly not me!" Assistwo said flashing his almost omnipresent impish grin. "What about you Inventor? Inventor..?" he said while turning around not realizing Inventor had quit for the day and already was headed home.