Beyond Taoism - Part 5
A Vector-based Probabilistic
Number System
Part II

(continued from here)

Taoism and the primordial I Chingare in agreement that temporal changes have two different aspects: sequent and cyclic.  Western thought in general follows suit. The I Ching differs from the other two in asserting that  the direction of change - for both sequent and cyclic change - is fully reversible,  with the proviso  that sufficiently small units of measurement are involved.^[1]  The probability that reversal can be achieved  diminishes proportionately to the magnitude of change that has taken place.^[2]

Taoist appropriation of bigrams and trigrams of the I Ching to model such phenomena as change of seasons and phases of the moon  is plausible if not quite legitimate. The natural phenomena so modeled are macroscopic and vary continuouslyandinexorably throughout an ever-repeating cyclic spectrum. And there’s the rub.

As they occur and function in the I Ching bigrams and trigrams are dicontinuous discrete elements,  formed by other similarly discontinuous discretized entities,  and they follow evolutionary courses which are most often nonrepetitive. So the Taoist usage is misleading at best, annihilative at worst. Unfortunately, as the I Ching itself evolved through centuries of commentaries and reinterpretations,  it became  ever more contaminated and tainted by these Taoist corruptions of meaning, at the same time that it was being inundated by  Confucian sociological and ethical reworkings.  What we have today is an amalgam, the various parts of which do not sit well with one another.^[3]

Though it may in part be hyperbole to prove a point,  the stark difference between the two approaches,  that of Taoism and that of the I Ching, is epitomized by comparison of the Taoist diagram of the cycle of seasons with diagrams at the top and bottom of the page,  which are based on  the  number,  logic,  and coordinate systems of   The Book of Changes.^[4] The increased complexity of the latter diagrams should not prove a stumbling block, as they can be readily understood in time with focus and attention to detail.  The  important take-away  for now is that in the I Ching bigrams  exist within a larger dimensional context  than the Taoist diagram avows,  and this context makes all their interactions more variable,  conditional,  and complex. As well, the same can be said of trigrams and hexagrams.

One of the more important aspects of these differences has to do with the notion of equipotentiality.  As bigrams and trigrams function within  higher dimensional contexts  in the  I Ching,  this introduces a possibility of multiple alternative paths of movement and directions of change.  Put another way,  primordial I Ching logic encompasses many more  degrees of freedom  than does the logic of Taoism.^[5]  There is no one direction or path  invariably decreed or favored.  An all-important element of conditionality prevails.  And that might be the origin of what quantum mechanics has interpreted as indeterminism or chance.

Next up, a closer look at equipotentiality and its further implications.

Section F_H(n)^[6]

(continuedhere)

Notes

[1] There are exceptions. Taoist alchemy describes existence of certain changes that admit reversibility under special circumstances.  Other than the Second Law of Thermodynamics (which is macroscopic in origin,  not result of any internally irreversible microscopic properties of the bodies), the laws of physics neglect all distinction between forward-moving timeandbackward-moving time. Chemistry recognizes existence of certain states of equilibrium in which the rates of change in both directions are equal. Other exceptions likely occur as well.

[2] Since change is quantized in the I Ching, which is to say, it is divided into small discretized units,  which Line changes model,  the magnitude of change is determined by the number of Line changes that have occurred  between Point A and Point B in spacetime.  Reversal is far easier to achieve if only a single Line change has occurred than if three or four Lines have changed for example.

[3] Ironically, Taoism itself has pointed out the perils of popularity. Had the I Ching been less popular, less appealing to members of all strata of society, it would have traveled through time more intact.  Unless,  of course,  it ended up buried or burned. What is fortunate here is that much of the primordial logic of the I Ching can be reconstructed by focusing our attention on the diagrammatic figures and ignoring most of the attached commentary.

[4] These diagrams do not occur explicitly in the I Ching. The logic they are based on, though, is fully present implicitly in the diagramatic structural forms of hexagrams, trigrams, and bigrams and the manner of their usage in  I Ching divinatory practices.

[5] Or, for that matter, than does the logic of Cartesian coordinate space if we take into account the degrees of freedom of six dimensional hexagrams mapped by composite dimensional methodology to model mandalic space. (See Note [4] here for important related remarks.)

[6] This is the closest frontal section to the viewer through the 3-dimensional cube using Taoist notation.  See here for further explanation.  Keep in mind this graph barely hints at the complexity of relationships found in the 6-dimensional hypercube which has in total 4096 distinct changing and unchanging hexagrams in contrast to the 16 changing and unchanging trigrams we see here. Though this model may be simple by comparison,  it will nevertheless serve us well as a key to deciphering the number system on which I Ching logic is based as well as the structure and context of the geometric line that can be derived by application of reductionist thought to the associated mandalic coordinate system of the I Ching hexagrams. We will refer back to this figure for that purpose in the near future.

© 2016 Martin Hauser

Please note:  The content and/or format of this post may not be in finalized form. Reblog as a TEXT post will contain this caveat alerting readers to refer to the current version in the source blog. A LINK post will itself do the same. :)

Scroll to bottom for links to Previous / Next pages (if existent).  This blog builds on what came before so the best way to follow it is chronologically. Tumblr doesn’t make that easy to do. Since the most recent page is reckoned as Page 1 the number of the actual Page 1 continually changes as new posts are added.  To determine the number currently needed to locate Page 1 go to the most recent post which is here. The current total number of pages in the blog will be found at the bottom. The true Page 1 can be reached by changing the web address mandalicgeometry.tumblr.com to mandalicgeometry.tumblr.com/page/x, exchanging my current page number for x and entering.  To find a different true page(p) subtract p from x+1 to get the number(n) to use. Place n in the URL instead of x (mandalicgeometry.tumblr.com/page/n) where
n = x + 1 - p. :)

-Page 300-

Model and actress Rachel Emily Nichols was born in Augusta, Maine to Alison and James Nichols, a teacher. She has English, French-Canadian, German, Irish, Italian and Scottish ancestry. After graduating from high school, she attended Columbia University in New York City, where she eventually graduated with a double major in math and economics. Whilst at Columbia, she began modeling, launching a successful career with work for such high-profile companies as Guess?, Abercrombie & Fitch and L'Oreal. She moved into acting, snagging a role on Sex and the City (1998) with her very first audition. She made her film debut as Jessica Matthews in the prequel Dumb and Dumberer: When Harry Met Lloyd (2003). Success continued with roles in such projects as The Amityville Horror(2005), The Inside (2005), Alias (2001), G.I. Joe: The Rise of Cobra (2009), Criminal Minds (2005) (a recurring role as FBI Agent Ashley Seaver) and Conan the Barbarian(2011). She played the lead role of Kiera Cameron on the science fiction series Continuum (2012).

Source : IMDb

Join us as we celebrate the enduring connection between mentor and student in this special art education showcase. In “Continuum,” six collegiate professors who live and work in West Virginia present their art alongside that of a former student. Through their six unique sets of stories and works, we are offered a chance to explore the mutual exchange of knowledge, encouragement, and growth that flows between teacher and student and the strength that is present in West Virginia’s collegiate art departments.

“Continuum” features selected works by the following professor/former student pairs:

-Jamey Biggs and Mandy Lester, Concord University

-Sonya Evanisko and Sarah Loy, Shepherd University

-Mary Grassell and Brian Jarrell, Marshall University

-Mark Tobin Moore and Nicole Suptic, Concord University

-Jack Sheffler and Kylene Babski, Concord University

-Robert Villamagna and Jonathan Walsh, West Liberty University

Left: “The Nature Table Book” by Mary Grassell (Professor of Graphic Design, Marshall University)
Right: “High Alert” by Marshall University Alumni Brian Jarrell  

Far Left and Right: Acrylic Paintings on Panel by Sonya Evanisko (Professor of Art / Coordinator of Painting & Drawing at Shepherd University). In the center are mixed-media works by Sarah Loy, Shepherd University alumni and Sonya’s former student.

“High Alert” - ballpoint pen drawing by Marshall Alumni Brian Jarrell. Brian is exhibiting in “Continuum” alongside former professor Mary Grassell

“Opus Prime” - Earthenware sculpture by West Liberty Alumni Jonathan Walsh. Jonathan is exhibiting in “Continuum” with his former professor Robert Villamagna.

Detail of “Bull Dozer with Shard Pile” - Collaborative sculpture by Jamey Biggs of Concord University and his former student Mandy Lester

“Terra Cotta Drumblebee” by West Liberty Alumni Jonathan Walsh is enjoying his view of Robert Villamagna’s mixed media works. Robert, Jonathan’s former instructor, teaches Art at West Liberty University and is the director of the Nutting Gallery.

Left - “Stitch” Right - “Buddha” Marker/Colored Pencil drawings by Concord Graduate Kylene Babski. Kylene is exhibiting in “Continuum” with former professor Jack Sheffler (Chair of the Division of Fine Arts / Associate Professor at Concord University).

Far left and right: Marker/Colored Pencil drawings by Kylene Babski (Concord Alum). Center: “Self Portrait” by former professor Jack Sheffler (Chair of the Division of Fine Arts / Associate Professor at Concord University).

“Thumb Head” - Woodfired Porcelain Sculpture by Concord Alumni Mandy Lester. Mandy is exhibiting in “Continuum” with former instructor Jamey Biggs

“Dumptruck with Jalapenos, Cilantro, and Onions” after a few days in the sun by Jamey Biggs (Associate Professor of Art / Gallery Director, Concord University). Jamey is exhibiting in “Continuum” with his former student Mandy Lester.

“Bull Dozer with Shard Pile” by Jamey Biggs (Associate Professor of Art / Gallery Director, Concord University) and Mandy Lester (Graduate, Concord University)

“Dimetrodon” - Earthenware sculpture by West Liberty Alumni Jonathan Walsh. Jonathan is exhibiting in “Continuum” with his former professor Robert Villamagna.

Mixed-media works by Mark Tobin Moore (Instructor of Art for Concord University). Mark is exhibiting in “Continuum” alongside Concord grad Nicole Suptic.

“Nature Table Book” - a handmade book/wood block print by Mary Grassell (Professor of Graphic Design at Marshall University). Mary is exhibiting in “Continuum” with her former student Brian Jarrell.

Sketchbook drawings in ballpoint pen by Brian Jarrell (Marshall Alumni) flank prints created by his former professor Mary Grassell (Professor of Graphic Design, Marshall University).

Left - “Mischievous (Chance)” Right - “Brain Freeze (Self)” - Acrylic portraits by Concord graduate Nicole Suptic. Nicole is exhibiting in “Continuum” with former professor Mark Tobin Moore (Instructor of Art for Concord University).

“Bad Air Delivery” - Mixed Media work by Robert Villamagna (Assistant Professor of Art
Director, Nutting Gallery, West Liberty University). Robert is exhibiting in “Continuum” with former student Jonathan Walsh (West Liberty Alumni).

Far Left and Right: Acrylic Paintings on Panel by Sonya Evanisko (Professor of Art / Coordinator of Painting & Drawing at Shepherd University). In the center are mixed-media works by Sarah Loy, Shepherd University alumni and Sonya’s former student.

Left & Right - Woodfired Porcelain Sculptures by Concord Graduate Mandy Lester. Center: Mixed-Media work “Danger Man” by Robert Villamagna (Assistant Professor of Art Director, Nutting Gallery, West Liberty University).

sentinel5imon777:

Bring Back, Make It, Save These T.V. Series(In No Specific Order)Part 3

• Philip K. Dick’s Electric Dreams(2017)
• Z: The Beginning Of Everything(2015)
• Marvel’s Runaways
• Marvel’s New Warriors
• Six
• Valor
• The Brave
• Seal Team
• Star Trek: Discovery(2017)
• The Good Doctor
• People Of Earth
• Hunted(2012)
• Continuum(2012)
• Hannibal
• The X-Files
• Stitchers
• Psych
• Powerless(2017)
• Quantico
• Marvel’s Agents Of S.H.I.E.L.D.
• Timeless
• A Very English Scandal(2018)
• El Chapo(2017)
• Ascension(2014)
• Jane The Virgin

Cascos tilintam no recolhimento

À capela
convocamos derradeira canção

Na rua dos vivos
amanhece o imparável dia

— Ewertão

But letting it officially end is better than nothing.