Dear Colleagues,
the discussion about complexity leads us back to our basic assumptions. The
core point appears to be, how we perceive a): the world, and b): what we
think about the world, and c): how a) and b) fit together. This can be
formalised into a) how we feel, b) how we think, c) how we integrate what
we think with what we feel.
The question of how - in what ways, what extent, in whose judgement - that
what one thinks and that what one feels interact is the subject of
morality, theology, dramaturgy, choreography, music and art generally.
So far, the interplay between what one thinks and what one feels has not
been investigated by classical mathematics. There are now some approaches
which suggest that indeed there is a rational way of comprehending the
methods, aims and goals of that what governs the interplay among what one
feels and what one thinks.
The approach states that what we think is a realisation of discharges of
the nerve cells of our brain, are therefore linear (as the bursts of the
ganglions are in a temporal distance among each other). What we feel is in
this approach a realisation of a composition made up of commutative symbol
carriers (as the biochemical hormones of the nerve cells in our brain are
liquid and not sequential, they are treated as a commutative collection).
There appear some quite interesting cause-consequence relations just within
the realm of natural numbers. This suggests that Nature - as recognisable
via the natural numbers - does have a concept of an a-priori order, and we
can read the ordering principles off the natural numbers.
The complex discussion going on in FIS could be enriched in two ways by
this person: explaining the connex among the symbols (detailing, what the
logical operation of an addition implies, and which of the implications are
in themselves contradictory), or mobilising the emotional-hormonal connex
among the meanings of the symbols (eg by pantomimical presentations of
relations between disjunct and monotone, by asking you to partake in a
ballett performance so you feel the relations of closeness and belonging
vs. freedom and lonesomeness). It is the interplay, neither the correct
explanation, nor the virtuous feelings are in themselves in disarray, but
how they are connected to fixed structures among each other is what the
song is about and the additions list.
The formal presentations have been made. Presently, this person works on a
communication detailing the relations among emotional symbol carriers. This
results in a piece of art, not in a piece of reasoning.
The artwork is now present, so I am now ready again to attend these talks,
and may offer to explain it all, by literary - emotional - means, in the
form of a dialogue, not as a writeup. The writeup is now with a publisher,
so we can exchange questions and answers.
Karl
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