The animate response to dynamical systems is to count.
Whether it be by some internal rhythm , such as a heartbeat, or some external rhythm such as the passing of the sun, the response is to observe and count.
In the round, the processes of coding and decoding form the complete model. The technology I create in order to count is also the technology and it's procedures I must use in order to display what I have counted. It is this dual system of coding and decoding that spawns the different algorithmic procedures that sustain a paradigmatic view or experience of reality. I do not merely count, but I also respond visually with patterned eye movement, proprioceptively with cyclical and rhythmical movements, and thus kinaesthetically: and emotionally with an engagement in the interaction event.
Beyond that event I may respond creatively to make tools and costumes to make the evnt more cultural or more efficient. These extra event actions create the whole context of an encoding decoding algorithm. Such extra evnt actions lead to technologies that over time reflect the complexity of the experiential reality I exist in, they reflect the fractal accretion of complex algorithms which promise better and more efficient modelling results, but they bring with them an air of mystification.
The fractal nature of the arithmoi develop from spaciometry, where it is visually clear tht form has scale. It becomes clear that form has multiplicity both extensively and intensively. It becomes a technological triumph, an Isis and Osiris tale to synthesise a form from lesser parts. It becomes a magical tale when the synthesis produces dynamic similarities, and it becomes mythical when he synthesis interacts and engages with the human experience. Our machines have become legendary by this process.
The fractal net of a number of monads covering a form can be transformed into a scale by a process of lining the monads up. Such a scale can be further fractalised, and the process used to do this also gives the power of syn thesis.msynthesis and creativity give the power of transforming ones environment and experiential continuum.
Thus the many methods of counting should not be discounted, for ech method has a transformative process that enshapes our world.
That arithmoi appear in a statistical setting is clearly necessary when looked at as form. Spaciometry is too complex to know every thing about a form in space, but dividing space into manageable regions helps to encode otherwise ignored spatial properties.
The use of counting is the use of self referrential tautology, for one attempts to match ytterbium stimulus to the responses in a feedback loop that tends to homeostasis. But animates may also initiate a signal stimulus themselves and playfully modify nd explore it. The result may be a new algorithm that creates a new form. If this form also occurs in our experiential continuum uninitiated by ourselves, we tend to assign predictive attributes to the new algorithm. But if that model prediction fails we modify or change the algorithm accordingly. In this way I build up a subjective model that is increasingly attuned to my real experience.