It suddenly struck me that spatial intensity is a more fundamental notion than i first intended.
The notion arises from the Logos Summetria Response in calculating the outputs to the signal meshes, localising the output to the originating sensor input. These outputs i have called ars and they represent the motion sequents that originate them. but the ars do not just combine to give areas and forms, they combine to give intensities and pitch.
Now the sensory meshes are so set up as to give interference pattern information that enables perspectives and spatial location to be computed, thus the ars are not only spatially arranged into form and boundary they are also arranged spatially into intensities and pitches , both of these ar-rangments having "perspectivity" and "boundary".
Now as evidence of the output to the sensor i draw your attention to the chameleon, the octopus and the squid as examples of how the computed output is directable even to the originating sensor. The notion of spatial intensity i direct your attention to your music centre, to the stroke of a feather, to the power of the wind.
However when thinking about visual form it is apparent that the first output is the spatial intensity of contrast, and then the spatial intensity of colour and then finally the spatial intensity of what may be called edges. now edges do not exist as such, but are computed to scale, and represent a contrast ratio between the ar of the intensity in the computed whole called a form, and the ar of the intensity of the background which has a different perspective output signal.
Now the computation of these edge ar outputs are very special, because they can lead to the impression of light bending around the "edges" color variations, indistinctness , colour haze etc. These computed effects are artefacts of the computation and it is fantastic how the system is able to compensate for them in the main.
Thus spatial intensity actually describes the major part of the visual "form", leaving me to define edge recognition in terms of contrast intensity. Now the same special, trigger intensities will exist in the other sensory meshes, allowing the distinction say, in music, between the instrumental tones blended in a orchestral chord.
Thus intensity is a more general notion of magnitude, but it is associated with something produced by proprioception called "spatiality", which inheres in interference patterns of intensities.
Spatiality i a measure of the interference patterns produced by intensities measured by separated sensors which feed into the common processing networks.
the intensity in the motion field is the playing out of the density function inherent in moving space, due to the directed rotational motions , trochoidal in nature, that play out.
The dynamic magnitudes are therefore dynamic intensities in motion in my experiential continuum. I may not perceive the motions in notFS directly, but the modeling output is sufficient for me to make some good enough guesses.
We therefore appreciate the invariance of the interference patterns of spatial intensities, a much more fluid conception of the ar i compute and display in my experiential continuum