THE PATTERN OF CONNECTIONS
(P.O.C.)
I often hear people suggesting or wondering whether this reality of ours is a Simulation or a Hologram or an Illusion or a whole bunch of other ways that all seem to miss the point of the question they're trying to answer. In this post we will go over an important principle that will play a major role in the proof. And maybe even use what we arrive at to answer all these questions with a single answer.
Are we in a Simulation?
Are we in a hologram?
Are we in an illusion?
Let's try to exercise some of the concepts we should be familiar with, at least by the time this is officially published, and the set setting of this prayer to be begin
Somewhere in a LIFE-EVENT-VOLUME (L.E.V)
A SubMindVolume of Discomfort changes States
The resulting connection between produced what we call
AN IDEA
STATE of the DISC MV
(base of connection)
AN IDEA
STATE of the DISC MV
(tip of connection)
After a similar change in a DISC MV, this particular Idea took on the form we call a
Story
A story which yet again, he decided to share after yet another change of state in a DISC MV leading to what became a
SCRIPT
that he wrote.
Let's call this idea:
ROMEO & JULIET
which means the LFE we're talking about is who you might know as William Shakespear. And I'm going to assume that his initial script was simply a story telling version of the Playwriting based script he may have done from the start. Because I want to show a core ORIGINAL version of a story that can take on different forms. Hence a script that was meant to be directly read by you or the audience was adapted into a Movie, a Play and a TV show. Assuming this is an alternate reality where shakespear is alive today.
A MOVIE SCRIPT
A SCRIPT FOR A PLAY
TV SHOW SCRIPT
FORMS of a STORY
In addition to the different scripts, each of these became the form of the story it was written for. This means that you can now read any of these scripts or see them as the art form they were designed for. And as a modern day shakespear, you can see any of these in different styles. For exmaple you can see them live like the play or upon release at the movies or stream them later, similar thing with the show that you can see the first time it airs or as reruns. On top of that, there is no limit to how these forms "crossover" to one another. For example a TV show about the Play that was rewritten to be based on the Movie of the story of Romeo and Juliet. The point is to show different forms and how they can be nested if necessary to describe their relationship to the original story and remain as "forms" of that story.
We can break the "FORM" of the story into two ways. The FORM closer to the author's side and the one closer to the readers side. Hence we'll set the first to be based on the HUMAN TELLERS behind it. In other words it's about the style adopted by the human MVs that decided to tell the story.
While, the other "FORM" of the story will be set based on how YOU or the READER/Listener/watcher decide to learn the story. So if you saw a movie about the play, then the form of the story you processed would be in the FORM complex describing the concept of play and movie as intermediaries or "channel" of delivery of the information.
FORMATS
While the FORMS covered the different ways a story is told and received, it only did so at the human level. However the absolute version of definitions that we rely on in our prayers demands a deeper and more complete understanding of "STORIES" even if it's mostly for reference. In other words, the way this story can exist in the 21st century goes beyond the single stack of papers the original shakespear probably used and hence it didn't exist anywhere else in any shape or form early on. But in our example above, we spoke about TV and Movies and Home DVDs and Television screens, heck even VRs and Holograms today, in addition to a straight to the retina contact lens display I read about recently. All of these, especially things like the information inscribed and stored on memory banks like Bluray Discs and Video Tape film and maybe the Pixel based pattern that your tv tells you the story with that your eyes see and your cones and rods reads as code of information, are FORMATS of the STORY. Because what a STORY is in an absolute sense is the A PATTERN OF CONNECTIONS. But before I get into that I want to say one more thing about another difference that we should consider and that is the MODE OF A STORY. I don't recall the exact MORAL of the ROMEO of JULIET, I recall the 2 families hating each other and their death at the end but it's been a while to recall what the moral was. However every, or most morals can be packaged in very different stories. Hence a MORAL of the story is a type of abstraction that tells a more general story. Because the ORIGINAL IDEA that William came up with, and the type of stories we're going to be interested in, are the MORAL STORIES that are at the center of every story even if you don't see it or isn't declared to you - it's actually the most potent type of Magic there is, and it incepts you without you even knowing. Becase MORALS are just like Einstein's Field Equations, they are a LAW to be believed presented as someone else's expereince and ties together the CAUSE AND EFFECT relationship the outcomes of which teach you about the world without highlighting the fact. Because the SUCESS and FAILURE of the characters is associated with the LAW the world operates by. Hence the repetitive exposure to specific types of morals when embedded in all kinds of different MODES and overlapping Stories (which can mave many morals) all paint a picture for the subconscious to believe. Hence the rise of materialism whose morals are in most stories, and very underscored in many of them!
PATTERN ETCHED INTO A DVD
PATTERN IN THE TV PIXELS
PATTERN IN THE VHS FILM
MODES
But before I get into that I want to say one more thing about another difference that we should consider and that is the MODE OF A STORY. I don't recall the exact MORAL of the ROMEO of JULIET, I recall the 2 families hating each other and their death at the end but it's been a while to recall what the moral was. However every, or most morals can be packaged in very different stories. Hence a MORAL of the story is a type of abstraction that tells a more general story. Because the ORIGINAL IDEA that William came up with, and the type of stories we're going to be interested in, are the MORAL STORIES that are at the center of every story even if you don't see it or isn't declared to you - it's actually the most potent type of Magic there is, and it incepts you without you even knowing. Becase MORALS are just like Einstein's Field Equations, they are a LAW to be believed presented as someone else's expereince and ties together the CAUSE AND EFFECT relationship the outcomes of which teach you about the world without highlighting the fact. Because the SUCESS and FAILURE of the characters is associated with the LAW the world operates by. Hence the repetitive exposure to specific types of morals when embedded in all kinds of different MODES and overlapping Stories (which can mave many morals) all paint a picture for the subconscious to believe. Hence the rise of materialism whose morals are in most stories, and very underscored in many of them!
An interesting phenomena when it comes to morals is that they highly depend on the receiver's state of mind. For example take the "BOY WHO CRIED WOLF" moral. Someone could say that it teaches that lying leads to disaster, or undermines the trustworthiness of your character. Oddly, some however still fall for the idea that if someone lies about something than that something becomes a lie. In otherwords the fact that the boy lied about the worl appearing made some think that there was never a wolf to begin with. While I for example see a moral about what happens when a village decides to entrust a very serious position with dire consequences for the whole village to someone who has proven unfit for the job. That's the LAW that seems to be at the heart of this story. Not that children or boys working unqualified jobs should take their work seriously! Which is pretty much what it means when you think that the boy was at fault in this and that he was to blame.
The CONCEPTS interlinked in the makeup of a MORAL is what I call a PATTERN OF CONNECTIONS. In this case it relates to us how the concepts of Responsibility, Trust, Honesty, and Blame, etc... involved in the BOY WHO CRIED WOLF form an equation with an equality to it. This means a CHANGE in one side is linked to a CHANGE in another, usually the side where Regret, Success, Redemption and resolutions based concepts would be. The P.O.C. will play a major role in the Identification of the most abstract concepts will come to deal with because as you may have surmised, it's designed to be a tool to help us abstract at the highest level possible in MODES of Information. Hence if a Moral is a POC, then what can we determine about the CORE POC of all MORALS when we apply the STORY-based view of all MEANINGFUL INFORMATION (as someone telling you a story and presenting you with a law/equation to believe). Because here again we'll have a way to generalize to ALL EVENTSPACES in the CREATION STORY whose MODES can be thought of as a SIMULATION and/or a HOLOGRAM and/or an Illusion (exists in a MEMORY of a MIND) because all of these are different FORMS of describing the STORY OF GOD'S PROMISE that is the STORY OF CREATION. So while all of these are True and Accurate ways to describe this reality, NONE of them can be presented as THE TRUTH because they are different ways to deliver a MORE ABSOLUTE/CERTAINLY TRUE MORAL which is that God Keeps His Promises.
A question that should probably pop into most of your minds is how would individual CONCEPTS be Identified. The Individuals will be identified as POCs as well, after we Reframe a STORY's POC to be a PROBLEM SOLVING template, and thus a CONFLICT RESOLUTION data point with DOs and DON'Ts presented as MORALS. That means Lies, Deceits, and Truth are all limited to this template and its vehicle we call a story. Hence by understanding these relationships along with the principles from the Prayers about Uniqueness, we can reach a "FUR" unit that we can set as "1" or the "MASS" unit of All of REALITY. But the cool point is that all of reality becomes seen as PATTERNS OF CONNECTIONS, whose nodes or points are themselves PATTERNS of CONNECTIONS. And while it's great that we will be able to apply this principle to everything, it's greatest advantage over our other models is that it lets us Identify Truly UNIQUE PATTERNS of things that would otherwise drown us in all the Variabilities we engage with to connect to them. And that is especially important when we are tracing UNIQUE IDs of Core Morals/Patterns.
For Next time, we'll go over how this PARADOX like most others is an EXAMPLE of a CERTAIN MORAL of Creation. This one in particular offers a Technical perspective of How and Why God's Promise of Certainty comes to pass to a forewarned human mind.
The Unexpected Hanging Paradox is a famous logic puzzle about a condemned prisoner who uses backward deduction to convince himself he cannot be executed, only to be caught completely off guard
Summary:
The completed prayer for Patterns of Connections should yield the understanding of the 3 Main categories of P.O.C.s:
The INFORMATION related to the relationships of the Concepts that includes all Human-like types of Observations, hence contains the Less Unique and More Variable Layer of Data.
The type that encodes the Abstract Less Variable MORAL, and any SubMorals involved or included in the Type one version of the Data.
And Finally, the DISPLACEMENT between the TYPE II POC ID of a story and the ONE-LAW's version of the REAL PATTERN ID describing the relationships and the axis of symmetry that binds them together in a CERTAIN WAY.
This builds on the understanding that the "Holy" version of the ONE-LAW would produce the REAL UNIQUE ID that every MORAL set of connections is attempting to "point us" (to believe in).