# Entry

Measurement as a song and dance routine Fractal .
The 9 elemental fields of the Shunya field promote a dynamic sequence of motions and processes we usually describe as a song and dance! This song we may call counting and the distinct phonemes may be gathered into label distinctions we call numbers or words describing spatial sequential relationships. No matter what we think our spaciometrical design means that we sequence these distinctive movements, relationships in a form or arrangement we may describe as order which is always trochoidal.
Bounding these trochoidal forms are a special form called a vortex, which entrains all trochoids into expanding or contracting vortices. Crossing all these vorticular bounds are special intersecting forms we call spheres and these fractalise all trochoids and vortices into what we may call a fractal scale around any arbitrarily given centre which we may call a pole. We may call it a pole because in 3 d the centre is the vertex of a vortex. The arbitrary orientation of a vortex means that a sheer is highlighted at the intersection with all vortices about a common vertex. This common vertex is not an isolated point, but an intersection of an uncountable or arbitrary number of vortex symmetry lines which appear as radial lines to the spherical form.. This centre therefore carries a huge potential dynamism from all it's supported vortices.

We model this sequentially by a process. This very process produces distinctive records . These distinctive records we frequently call time.mtime only has meaning if the records capture the vorticular dynamics. If the records capture only the spherical dynamic, time becomes circular and "meaningless" in it's current teleological sense. Newton, by positing in line with his faith an Absolute Time as the province of God, consigned all records to be subject to a god influenced teleos. However, eastern, non Zoroastrian religions merely accepted the repetitious nature of all records and celebrated the spherical nature of things. The combination of the teleological concept of records and the circular concept of records can be seen as resolutions of the vorticular nature of our spatial interaction. Our records dynamically show that circular measurements inexorably change. The results support an a periodic fundamental dynamic, if we choose it, but the reality is we only ever model one of an infinite set of arbitrary possibilities.

The process dance is fractal and scale free. So I choose 2 forms; I orient them relative to me and to each other; I compare them by placing one relatively on top of the other; I sing out a note; I carry out Euclids algorithm singing out distinctions as a change orientations to accomplish the dynamic task. As I change orientations I move. The rhythm of this movement is governed by the process of the fractalisation, the factorisation into smaller fractals. This process of singing , changing orientation moving all in a complex sequence guided by the comparison of one form with another, iterated through all possible orientations of comparison is cyclical for a bounded form, that is for a quantity of magnitude. This personal dynamic I can truly call a song and dance!

Songs and dances encode many interactions with space. The song and dance we call martial arts is an example of a deadly but beautiful art form. Similarly the whirling Dervishes are another beautiful expression of an interaction with space. Traditional Indian dances containing movements of intense encoding describe spatial relationships in a dance form of great beauty and antiquity.

To imagine that written graphemes are the only way we may encode these spaciometric relationships of Astrology is to paltrify the expression of the human creative instinct. Much deep philosophical information and resolution is spread about through all forms of art and culture. The Indian Caste system for example portrays an intense conviction in the hierarchical spatial arrangement of astrological bodies. The Harmony seen in space is modelled and emulated by the caste system, by architectural designs and by cultural dance forms and arts. The stability of such social orders reflects the conviction of a whole society. But in fact this stability is completely arbitrary and a periodic.

The Ed Lorenze equations and the water clock depict the chaotic underpinnings of order so called. We know that the beehive social order eventually breaks down into so called chaos and anarchy, and yet new beehives spring up with the same social order. Similarly solar systems may exist stably for long periods of time only to blow up in supernovae unexpectedly. And yet more solar systems develop along the same model.

This a periodic spatial structure we reflect and model as best we can in all our creative expressions, but the 9 fields of the Shunya field provide a structural framework to hang it all together on.

Shunya means everything.