One of the natural camera actions of conjugation is producing a snapshot of a dynamic focus region.
The conjugation of Shunys involves pulling forward a focus region for more detailed analysis. This inevitably produces a still frame with the foreground in sharp focus and the background in soft focus to out of focus. This video frame shot is just one of many in the iterated movie of my life's experience; so many that I would be loathe to count! And so is my processing system, which in fact uses the adjugates of the two conjugates in a special way. Instead of tracking every part of the conjugates, my subjective process only tracks those adjugates that change within the background context of Shunya. Every so often. Or when the point of view changes a golden key frame is generated to memory, whivh is basically a frame of the entire conjugate system. Adjugate changes are then recorded relative to that background/backdrop.
Conjugation and sequencing are The fundamental processes of my subjective processing centre. This is the fundamental interaction with space, the fundamental interaction with Shunya. What Shunya does is almost a mystery to me, but what I do in interacting with Shunya is reduced to these 2 processes. The models I make of Shunya using these processes are necessarily fractal and scale dependent and involve multiple forms, scales and sequences.
I have not particularly been inspired to complete these posts, chiefly because the world and his dog maybe has no interest in them, but as usual interesting connections crop up. So in the previous post I am going to give an example based on the cyclic groups of Z the integer set extending to include contra directed integers, if a measuring line or number line concept is used, here I was proposing to develop some notation based on the Venn Diagram I learned as a child, one of my first maths lessons in my new school when we got posted to Germany .
It turns out that Venn called these diagrams Euler circles!.
The use of circles, clock arithmetics, modulo algebras and equivalence classes all seem to have a nexus in Euler, and it makes me wonder if Euler had the same insight.
The conjugation of Shunya is just a fancy word for the factorisation of space into foreground and Background. Factorisation is just a fancy word for splitting Shunya into 2 conjoined parts. This is where it gets tricky. The parts are not independent,mwhich is why the distinction " conjoined" is made. The relationship, or dependency between the parts is that of scale and relative position. In their relative position the factors of space or Shunya clearly demonstrate this scaling relationship, especially if you think of the one factor as a circle within the much greater factor also a circle of " infinite" or indeterminate proportion or ratio.The mental processing is: as the foreground circle increases the background (circle) decreases in ratio. And as the background increases, so the foreground circle decreases.
When this behaviour is attached to quantity, rather than just magnitude, we get the familiar factorisation of a form into its quanta give factors. By this I mean 1*6, 2*3, 6*1 as a specific example for any quantity 6. Furthermore, the factorisation into primes or proto arithmoi takes on a articular spatial disposition in Shunya.
The diagramming of these relations is perhaps easiest initially va Venn diagrams, but this is in itself an illusion of an illusion. I try to retain the actual processing as much as possible by meditating on spherical or conical focus regions in space. This at once indicates the importance of perspective and spatial relativity. All this and I have not even mentioned the related child of Shunya: Adjugation!
The logical negative structure of the basic conjugation is an important observation. Logical negatives are the fundamental distinction we can make after the foreground background distinction. The difference between the two is that the fore/back is a process, the logical negative is a label of the result of that process. So we make a conjugation at this level into process and label. Now strictly speaking a label is an adjugation in the wider sphere of things, but in the narrow focus of the concept and the processing frame of that concept they are conjugates.this narrow beam processing that uses conjugation to attach items together, whatever they may be, is the fundamental associative process. At the moment of association, briefly there are no other 2 things in the processing universe! Once the association is done the focus expands again, releasing this connection and allowing others to enjoy the same process.
This is very enzymatic and catalytic. The association of these items is due to a software/ hardware process that binds them together, followed by a release process that frees them up for use or storage.
What this processing substrate is I do not yet know, but the computer model suggests electronic analogues.
However once one goes up a level to more than 2 items, that is a structure which results from 2 conjugations in sequence, then the logical not relation is weakened, and we may no longer exclude middle terms or items. The processing shifts from black and white to multiple shades of grey in a continuum from white to black..
But why be so drab! Let us add a riot of colour, making the world a far more interesting place.
These part forms or items actually appear as adjugates in some larger enclosing focus region, each one is potentially a conjugate of the whole of Shunya.
The fascinating realisation about conjugation is tht clearly it is a process that lives in , happens in awareness. Thus it happens at all levels of awareness from sharp, intense focused conscious analysis, through to subconscious states of altered awareness down , down ,down into the depths of unconscious preprocessing and unconscious proprioceptive processing in both hr Central Nervous System Meshes, and the Webs of Parasympathetic or Peripheral Nervous System.
Thus it is not too bold to state tat our normal visual and audiometric experiences are Atypical, and probably only represent a fraction of a percent of our conjugative experience. It also men's that the binary conjugation I have hitherto described as the fundamental conjugation, is in fact a special process probably distinguishing of all binocular mammals, including humans.
Thus we have evidence in the insect populations of the multimodal talents of these alternate life forms, and thus we may envisage a concomitant conjugation process for these types of awareness, different to ours. In fact, we ought to think of the binary conjugation as a special case, not at all typical in Shunya. I was surprised in the spring, after spending some time eliciting from Euclid's Greek version of the Stoikioon, that he in fact used the Goddess Isis as a paradigm, structuring his presentation and arguments and common judgements on Duality, and a vein like duality at that, to find the very plants I was studying to understand his conception produced from a single hopeful bud, a quintuplets of flower heads! Evidence to me that duality is only one of the possible comparative paradigms for a more general notion called Equality!.
Adjugation,mthen,mreflects our composite experience of conjugation, and I can only have a composite experience if I have a dynamic process of conjugation that is disjoint! Because of this disjoint nature of conjugation it is possible to obscure the fact that disjoint does not mean separate, indeed, the focal point of a specific focus region may be entirely separate from the focal point of a neighbouring region, but this is in the very Nature of "points"! However, the focus regions themselves may enjoy a substantial overlap. Thus the Euler circles above well illustrate this common occurrence, in which I show 3 non coincidental focus points, as the centre of the disks, 3 overlapping focal regions as disks, and the whole structure as a focal region vis a vis the page you are reading, or the screen you are scrolling!
At each stage of that carefully choreographed description I lead you through an experience of conjugation, but in the final part, the conjugation was admittedly complex, for the form which was conjugated as a region against the screen was a complex form. By no means was the screen a simple form either, being littered with marks, symbols, contrasts , arrays and linear sequences of marks. These complex focus regions therefore have a structure which is defined as adjugate. The three overlapping disk form/idea is in fact adjugated in quite a complex way . How I describe the adjugates is crucial to my apprehension of the form. Thus the terminology and notation of an adjugate structure or system is crucial to its apprehension, comprehension and utility!
The three disk system for example emphasises the 3 individual disks. Because I have before described it I have allowed myself a little ellipsis for brevity's sake, to avoid the tedium of repetition, and thus I have pushed into the background of the disks (which are in the foreground!), the fact that they overlap. Now I hardly need to explain to a native speaker of English , who is following along, that I ve done this ellipsis, but to a child, or some non denglish speaker I will have to specify, specify, specify.
Because of the tedium , the soporiphic, sleep inducing and attention draining effect of that level of specificity, rhetoricians, that is any communicator, have learned to spice things up a bit. They also used the association that comes about as a result of conjugation and factorisation, to label parts and wholes of tructures, parts and wholes of graphically presented communication. In musicology this is achieved by associating a theme or a specific tune to an idea or form or presence. The power of this rconjugation s immense!
So now we may focus on the 3 disk focus region, and realise that it has parts(adjugates), that each of those parts have boundaries, that those adjugate boundaries actually Denmark conjugate relationships with the rest of Shunya, and we may through that conjugate experience label that part.
At the end of such a process, or at some convenient stopping point we may expand our focus region to the 3 disk region, and appreciate its aggregate structure in this newly named or labeled way.
Further analysis reveals that each of these adjugates to the 3 disk form has forms, marks or labels within it, thus each adjugate itself has adjugates!
This structure of an Euler diagram is illustrative of how we in awareness fractalise every aspect of sac by a sequence of conjugations, and tructures spaces and regions by a relation of adjugates.
In a Venn diagram, I merely for convenience represent the background conjugate as a rectangular box. Because of this this box becomes a symbol of everything in the background from the points in a line either side of a specific point, to the whole universe. And yet it contradicts itself exactly at that point! For we have a rectangle representing everything which could lead us to imagine that everything is included within itself! But my experience will not allow this paradox to make sense, unless it is an infinite that is unending process!
For certain conceptual stations therefor we actually end up with an infinite loop or an infinite undecideability process..we typically ignore these and move on. The danger is tht we may not always recognise when we are in such processes if we do not study them.
So conjugacy and adjugacy are the children of Shunya.mthey are dynamic, factorising, aggregating , logically related procedural concepts by which process we interact with Shunya. When I introduce a monad into any analysis I must be aware of its conjugates and adjugates. I must be aware that there are infinitely many of them disposed in a fractal structure of my devising. That the purest and simplest of them are the conjugacy pair associated with the boundary of a focus region. That the most elegant of these are the conjugates and daughters derived from the analysis of a spherical region, for from this the more general spiral processes in space may be measured.that the sphere provides a harmony of all measures of use to the wit of man.
Shunya is everything.