strange sentience

math, fugues, meditative neurosis

Category: Intellectual

The metamathematics of set theory studies the relative conceptualizability and consequentiality of the irreducibly-conjectural internal dynamics of infinity.

Philosophy Implicit

Mathematics is philosophy in which obscurity has been atomized to the primitive undefinables of which mathematics is composed. What philosophy mathematics contain has been abstracted from its local semantics, which instead predicate precisely and thus non-universally, to the implicit philosophy conveyed by and garnered through mathematics’ large-scale inter-relational structure construed metaphorically as it relates to the structure of universality of structure of universality.

Philosophy is Self-Applied Metaphor

All language is metaphor.

Philosophy of language is philosophy of metaphor.

Philosophy is metaphors about metaphors.

These sentences are metaphors metaphorical; thus they are philosophical.

Is metaphor meta for metaphor?

Mathematics is the physics of its own syntax.

Mindfulness

Without mindfulness, every quality self-progenerates.

You are your habits.

Without mindfulness, these qualities of mind only self-reify.

Cultivating ubiquitous directed presence is the basis of meditation.

Things are objectively relative, yet relatively objective, and consistently paradoxical, yet paradoxically consistent.

When it comes to elaborate writing, the difference between the scholarly and the grandiloquent is that one expresses complex ideas compactly, while the other expresses simple ideas diffusely.

When it comes to elaborate writing, the difference between the scholarly and the grandiloquent is that one expresses complex ideas compactly, while the other expresses simple ideas diffusely.

Meditation is about slowing down enough to catch up to yourself.

Why Fugues?

I have isolated what is perhaps the foremost reason I am so strongly inclined toward the fugue above other musical forms: due to the manifold [temporally+tonally]-translated superpositions of the subject (theme) which are definitionally necessary of a fugue, the attentive listener’s auditory range of perception is, in a way, temporally dilated to a several-second span. The reason for this is that with respect to any moment and “voice,” which in this case happens to refer precisely to a moment in an instance of the subject, the other voices are temporal+tonal translations of its semi-local tonal structure. This allows us to simultaneously perceive how the subject is now, how it will be in, say, two seconds, how it was, say, three seconds ago, and on if there are further superpositions. Depending upon on which voice we choose to focus, the relative displacement dynamics may of course shift, but this form of relatively temporally displaced structure remains. Because the mind seems to effectively perceive time not pointwise but locally, and because the mind seems to subconsciously interpolate the content of its “blind spots,” the attentive listener may, in processing the fugue, perceive said induced temporal dilation of their temporally-local auditory perceptual field and, further, experience a consequent sublime trance-like but attentive splendor of awe of the fugue’s tonal structural beauty distended in time.