Index of Coded Language Investigation

Big TOE

Hology says that every part of reality has the structure needed to internally simulate its external environment in this way, turning the conventional picture "outside-in":
This results in a “distributed subjectivization” in which everything occurs inside the objects; the objects are simply defined to consistently internalize their interactions, effectively putting every object “inside” every other one in a generalized way and thereby placing the contents of space on the same footing as that formerly occupied by the containing space itself. Vectors and tensors then become descriptors of the internal syntactic properties and states of objects. In effect, the universe becomes a “self-simulation” running inside its own contents
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"Look at the pattern this seashell makes. The dappled whorl, curving inward to infinity. That's the shape of the universe itself. There's a constant pressure, pushing toward pattern. A tendency in matter to evolve into ever more complex forms. It's a kind of pattern gravity, a holy greening power we call viriditas, and it is the driving force in the cosmos. Life, you see."
In Hildegard's understanding, it is a metaphor for spiritual and physical health, which is visible in the divine word. "Homeostasis" could be considered as a more common replacement, but without the theological and spiritual connotations that viriditas has.



Hildegard may also be drawing a parallel with the burning bush Moses witnessed in the desert. If the Moses’s burning bush is the same as Hildegard’s incandescent Greenness, and they are both understood to be the structure of the subtle spiritual body… well, we, as mystics, have some interesting avenues to explore…
It is a language that carries a meaning beyond its literal connotation and it has been called Green language or “language of the birds.” The power to understand this holographic language has always been sought out by many, since it was seen as a sign of great wisdom and towards inner peace.


Then, Reality is beyond our perception and understanding, but must be comprehended by some "fiction" by which we experience passage from period to period and era to era as we age.




The connection to the stoichea becomes immediately clear. The symbols of the alphabet are viewed as the shaped holes through which the pure light of the divine logos shines. The shadows that are cast on the dial of the sundial or the cave walls are the meanings of those symbols as we perceive them from our lowly perspective.
Stoicheia are the degrees or steps from one end to the other, the constituent parts of a whole, forming a complete series, whether as hours, or letters, or numbers, or parts of speech, or physical elements, provided always that such elements are held together by a systematic order."
Whorf believed the Hopi had no grammatical forms, constructions or expressions that refer directly to what we call “time.” Consequently, Hopi speakers think about time in a way that is very different from the way most of the rest of us — with our obsession with past, present, and future — think about it. To the Hopi, said Whorf, all time is “now.” There is no past or future, only “now.”
There is a curious, extremely interesting term in Japanese that refers to a very special manner of polite, aristocratic speech known as “play language,” (asobase kotoba), whereby, instead of saying to a person, for example, “I see that you have come to Tokyo,” one would express the observation by saying, “I see that you are playing at being in Tokyo” — the idea being that the person addressed is in such control of his life and his powers that for him everything is a play, a game.

To keep ahead of nature is impossible, but to keep ahead of technology requires intelligence, caution, judgment and split second timing (synchronicity); this is why we love games. They test our capacity to synchronize our responses with the rules, character and objectives of the contest.
myweb.rollins.edu/jsiry/realversusideal.html


But there is another aspect of play that emerges from this linguistic analysis, and that is play as simulation. In Japanese, the most polite or formal means of expression is called asobase-kotoba, literally "play-language", and it communicates the notion that those we speak about are so refined that they only play at life. Thus, the polite way to say "I hear that your father died" is "I hear that your father has played dying." Even more striking are such words as allude, collude, and illusion, all of which are derivatives of the Latin ludere, and all of which refer to a sham, shadow, or simulated reality.