The Universe, Immortality and the Science of Perception

In progress

The Universe, Longevity and the Science of Perception.

Evolution has been the focus of biologists - in particular over the last century; and for some, alongside that has been a focus with that that can help us live longer, and ultimately give us the power of being immortal.  We can only speculate what the next thousand years of modern-medicine will uncover - but whatever, one thing is certain: the more illnesses can be cured and effects of ageing battled, the further we'll climb the evolutionary ladder.  However distant that reality may seem, there will come a point when the human race will be met with a challenge against extinction; and any positive change must begin not only in the field of research, but in the mind of each who would carry that evolution forward.  The study of Visual Symmetrics aims to deal with just that: the present human mindset at each stage in equilibrium, and the changes needed within that mindset in order that our goals may be reached.  The human race has existed for some 2.3 million years.  Not a long time in comparison to other earthling species, but how long is long enough?  Of course from a species' perspective it's beneficial to go on as long as possible, to to simply re-invent ourselves whenever we are faced with such challenges... the goal, immortality.  But to get there, first we must realize the connection between our universe and the science of perception.  The idea that mortal man can obtain the feat of immortality, stems from a similar idea that the universe is only infinite, so long as a mind can perceive it.  In Visual Symmetrics, the universe exists within the observer, via a system synonymous with "the abstract connection", (mentioned in later text), rather than being in any way a separate entity.  Therefore, to seek truth about longevity and the universe, a person need look no further than his/her own mind.  Similarly, to seek truth about longevity and the mind, then one may look towards the universe.  Perception is the key to all of this here, but is only possible through the guidance of the internal, via external world.  First, it is the result of boundaries - put in place by senses.  Everyone is different -- everyone's perception is unique; and by studying boundaries needed for the use of different sets of senses, we attain the ability to break through our own, where we shall uncover previously unknown systems.

What?

Immortality.  Not many would choose mortality, given the option.  But did you know mortal man already has the potential to unleash this super-human power?  Indeed, and as we go through you'll find the concept is one that's real.  You know what happens, you catch a cold, take a remedy.  There are so many things out there to help fight disease, therefore we lead longer lives; and there's nothing yet to say - in ten years time, we won't have the 'ultimate' cure to ageing.  Of course, there are no guarantees - but as more and more definitions are pushed back, one can expect a reality of being immortal to pop up somewhere.  If Visual Symmetrics can report an average-increase lifespan by ten years - each hundred years, made possible through the use of information, then it tells us less about permanent boundaries considering longevity.  Of course, this depends on the population - and as we go on, we take into account the potential of the individual to learn, based on present and future estimates and practically lay our cards on the table.  Because whatever an individual may experience -- though this experience is perceived as one that is external, it remains that experience is largely an internal process, in order for perception to take place.  Which leads us to our next question:  How does perception work?  The study supports the theory that everything we perceive is the result of codes; as if we were being controlled by someone or something; we try to delve a little further by describing those codes and how they work in conjunction with our daily lives.

Environment and Perception

Most of us have an idea of what makes up our external world, i.e., the atmosphere, stars and space.  In fact when it comes this, we are probably more clued up than any creature on the planet.  The reason, apart from our well-adapted brains, is our eyes allow us to take in the information.  - But it's the way we take it in, and the effect we have on our environs - as a result of our perception -- the ingredients that have a hand in others' judgement.  For us, 'seeing is believing'; and this stretches -- pretty much, the extent of our knowledge.  The question is not so much about what we don't see, because there are systems -- under our nose that like a fish in water, we have no idea of; like the healing properties of plants or the ability of supposed unsustainable systems to support life.  Of course some of this we know -- as for the rest, this is our potential as intellectual beings; for where the system of discovery ends, so does the ability to learn. Visual Symmetrics is the study of dimensions - and how, by observing systems via certain dimensions we gain access to previously hidden data.  It seems we are all too efficient at taking for granted our universe.  Like a fish in water, we have had no idea of how we can look through our inside world -- from the outside.  Here, we are not talking of sending space-ships to outer-space; because the action would equal the thing we are to step away from - what this is, is the theory that our senses bind us, particularly, in this instance, to our 'immediate' dimension - that there are dimensions we have less than vague knowledge of.  But before we move on to those, it will be fruitful to try to grasp a concept of our own.  What we will cover in the first part of this project is human perception and the way we acquire knowledge; not only here on Earth, but to the farthest known reach of space, because it's the topology of processed data, accurate or otherwise that is the structure of our abode.  We want to lose the 'fish in water' mentality and we start by introducing basic parts of the system. 

We all wonder about the greater aspect of things -- our universe, that we might gain some kind of definition; and Visual Symmetrics finds - that when it comes to doing it, dimensions are a useful tool.  They are an aid when it comes to getting a clear picture.  Our whole perception -- our boundaries -- they are the gist of everything.  There is no point to the question: how would a system be seen to behave? -- if we don't grasp the system; also there is no point in not describing these systems -- from a topological view-point, by the way they behave.  In VS, we move through dimensions all the time - it's just that biological factors don't allow us to interact.  But imagine what it would be like if we could -- and imagine also that we're aliens from another plane, with the ability to detect various interactive systems.  If, for research purposes we had to note them down, certainly we would look for a symbol to describe the way parts within those systems interact - otherwise the study would be liable to errors when it comes to placing the jigsaw together.  The next topic, 'Data Acquisition' deals with human perception; where everything we perceive has been picked up by senses, translated by our brains and separated into two parts: asymmetric and symmetric code.  To the brain, asymmetric code is ever-elusive, it may be translated into symmetric code, but may not be acquired in an asymmetric state.  It's biological factors that determine the topology of processed data.  In the interactive world, this is a system we take for granted -- here, a concept of that which must largely sustain us cannot be acquired if it's too big.  But if we can't create a description of a system which data hasn't been processed, then we can piece chaos into order and look at it another way, i.e., the way we would see it if it had.  

Data Acquisition

Even before we are born, we begin to acquire data to prepare us for life outside the womb.  This process is one that will eventually lead us to becoming more unique.  Our senses: smell, touch, hearing etc, perform more than one task - for instance, the sense of touch - apart from a preventative to objects, also lets us predict the temperature of surfaces.  Human perception is one of high acuity.  All the information works together to allow us a dynamic view of the world; and like insects and reptiles, human thought is a dimension of its own.  The psychological-physical separation that arises time and again reminds us that the base reality, (reality for all species), is quite different to how any species perceives it.  For this reason, if one were to locate the element responsible for human perception - in VS, would be equal to having acquired a definition of the universe.

Symmetry

In this case, symmetry refers to visual or imaginative acknowledgement, which, whether asymmetric or symmetric in real/imaginary terms, is stored inside the brain as symmetric code (SC) - or in other words, whole. It differs from how we describe shapes as symmetric (referred to as being uni-symmetric), because it focuses on a pattern of information that describes anything that has been visualised.  A mountain or ocean is a general example of this type of symmetry, because anything less than a mountain or ocean, the eyes would not see.  The symmetric code we produce is an essential tool for the recognition of objects, so an image that is visually asymmetric or visually part-whole, is programmed into the brain as whole.  

Symmetry in Populations

Our need for symmetry is mirrored in our everyday actions.  It causes them to take shape.  Symmetric code does not only govern the way we see, it governs the way we think, too.  It causes laughs and yawns to be infectious, creates cultures and friendships and causes people to fall in love.  So, symmetric code is not only vital to how we see and think... it's vital to the survival of living things.  That our purpose is to adhere to this symmetry, that it's so completely embedded in our lives is the reason the topology of the system has been elusive til now.  When we look at a ball or a car, we are more likely to think, it's a ball or a car, not describe them in their raw form, i.e, as whole.  That's not to try to take the excitement from the diversity we see when we look round, but to recognize a separate description of our world and highlight the possibility of other systems.

Asymmetry

Real asymmetry is the magic behind it all (it's the source of information that the eyes don't see), or Asymmetric Code (AC), which composes our symmetric system.  It's not that real asymmetry doesn't exist, but quite literally the opposite.  Symmetric Code is the reversal of Asymmetric Code, the latter being space that the eyes take for granted, and less intuitively gives us - when prompted, acknowledgement of nothing.  It differs from how we describe shapes as asymmetric (referred to as uni-asymmetric), because it focuses on a point before an object becomes visible.  An asymmetric knot from a distance - such, that the definition goes unseen is another example.  

Imagine an orb without inner detail. This symbolizes the result of asymmetric data already processed by the brain into symmetric code; then one may catch a fleeting glimpse of real asymmetry, though the brain can never process it as such. 

Although we think of asymmetric code as nothing, it isn't actually nothing.  In VS, it's a term for any code we're unable to interact with; so it contains data - but isn't equal.  For this project, asymmetric codes are space particles (spasons), with coordinates in preparation for symmetry.  The code is still asymmetric if events could be seen for the fact they occur at a different location.  This is because the visual field operates as though it were a window, where objects slide in and from view.  We can't see through buildings or round corners, and because data inside symmetric code can travel a fair length through space relative to an observer -- ie, the sun or a mountain - distance is not encountered; rather, calculated with respect to an object's size.  There is no difference between a two and three dimensional view-point, only that VS can't be explained with respect to the latter.  Ultimately, what this says is that we simply need our senses to acquire codes.  Imagine an experiment, where tests are performed on a subject, and electrical impulses sent down a tube, to parts of the brain that deal with heat etc... the subject may feel a difference in temperature... or hear something, all without any real stimuli.  In two dimensions we are all like this - like cells stacked atop each other; and we don't actually move, we just think we do.  The variation in visual stimulus is due to availability of code - for instance, available code is evident in the focus of the observer. 

In the physical world, a string of events are the cause of motion of an object.  The flow of particles; the effect of tide - it's all a domino effect.  But in the psychological world - initially, it doesn't appear like that and either way - time, although it exists is not necessary here, because a portion of events could be - more or less, a thousand years apart.

Visual and Imaginative Recognition

Visual and Imaginative Recognition (VIR), is a by-product of Symmetric Code.  They are two main forms of recognition. Visual recognition may be used by itself, however, imaginative recognition cannot be used without stimulation to part of the brain that deals with vision.  Many of us combine VIR on a daily basis; intentionally, unintentionally; and its most common form is when we look at part of something big, like a field, or a river; and before we know its arrangement, recognition - through the production of symmetric codes give us a sense of our surroundings. 

Sometimes we don't see systems because we don't know what they are; sometimes we don't see systems even though there are such known systems. The basic type of recognition (primary visual recognition), is our ability to see and process shapes. Even if we are not sure about the use of an object, our brain still processes the shape. It's described as basic recognition because it requires the least amount activation - it's also a primary example of learning. But after that, another type emerges. This type of recognition is secondary and acquired with a set amount IQ, (essential to perceptual beings). But the activation of secondary, together with primary recognition, is one which requires, for the most part external factors to activate the ability to interact with the system. In VS, the basic ability is always present. It's how much we think we know that leads to new perceptions. To get there in any case requires some disposable judgement, or an ability in the entertainment of facts. By using both forms of recognition, we may come to conclusions -- in other words, we may gather data to help realize facts with improved judgement and perception. It is then we can say, regardless of how many known/unknown systems slipped by the radar... our new, improved perception means that we must somewhere have also not missed, or that we missed less and must have an improved skill in learning. It's after the basic form when the visual in visual recognition means more: then we are able to pool data we don't believe to be fact, even incorporate to both perceived fact and fiction, ideas that are fitting with the perceived physical world.

Secondary visual recognition is another part of the system that keeps us bound to the symmetric plane. Recognition in various degrees and relative to shapes control behaviour to a significant extent. If, at each significant point we were to find ourselves in a place we didn't know, then regardless of intellectual capability, we would never gain secondary visual recognition - though biologically able, the external factors would render us primary beings. The brain may process shapes, but never learn anything from them. After secondary recognition has been acquired, primary works with secondary and may be independent. Though recognition in primary implies a subject is aware of the process, awareness does not have to be constant - but some external factor does - in order for the new form to emerge.  Primary visual recognition - first, is a key-sense, in the way that without it's activation, other senses would only have potential. One can only wonder whether there is a third form; whether it stems from a silent process in the brain where there is undiscovered ability.

Symmetric code and its acquisition by the senses is a system synonymous with the way we breathe data. If we were to take an historical look at the perception of the human race, we would discover that the use of 

measures like right and wrong have little or no significance.  In the third century B.C., the world was flat; and yet human beings didn't fall from the earth for believing that -- that was the perceptual boundary. In third century B.C., the earth was flat - that was our universe -- and, we were wrong! It's for that reason the study of Visual Symmetrics emerges. To put it simply, there would be no universe without the observer. So, one may pose the question that if there's no right or wrong, then what's the point?  And the answer is that it's all and nothing to do with shapes. When we look at an object, our brain needs to classify it. That is, if not through a direct measure, then through a series of elimination of other shapes, i.e., the brain may unconsciously go through the process of what it isn't. We use right and wrong in the same way. When we analyse a system, what we are trying to do is to push it into a category of shape. Still, it's a system which we rarely think twice about, yet this the exact thing that has led us time and again to the wrong conclusion.  It's a limited dimension. When we stop looking towards right and wrong, we cease to rely on shapes to govern our knowledge; then what we're heading for is a new classification of the types of boundary needed to distinguish between fact.

Awareness

We move on to the subject of 'Awareness', and describe it using psychological and physical mechanics.  Physical mechanics is the description for a system that is real, psychological mechanics is a description for a system that doesn't have to be real to represent itself.  While, during awareness, inaccuracy is present, physical mechanics becomes the root of our imaginary system; in psychological mechanics, become a psychological-physical description for both worlds.  Asymmetric code is always real -- in-acquired data, because it isn't bound by facts.  When our senses acquire asymmetric data, it becomes symmetric (whole) - and this is true whether we agree, or disregard our findings.  Regardless of how much knowledge a person may possess, all humans share this trait.  Any action is subsequent to the disappearance of asymmetric data, whether real knowledge or a supposition of reality, and is proof of the translation of asymmetric code.  In the case where acquired data is misinterpreted, for instance: a car rolls towards a corner, and from the other side a subject approaches.  The subject hears the car, but decides the noise came from a motorbike, opposite.  The fact that the subject was mistaken never made a difference to the translation of code; this system takes into account the infinite number of facts about a system we don't know and highlights an alternative world -- that of psychological mechanics - from reality -- the structure of the system is the same - but we must ever assess -- and to do it, the importance of inaccuracy is not to be neglected.  So we see - on a more complicated note that psychological and physical mechanics don't always go hand in hand - in order to gain a true, physical description; and in some cases there is a strict separation.  Psychological mechanics only attempts to describe that which is real - and is, in physical mechanics, very often a misinterpretation of facts.  In our living world, this understanding and misinterpretation is all we have; without the two, our universe wouldn't exist.  At first, psychological and physical mechanics co-exist.  This is because physical mechanics embraces everything within it, including the psychological; psychological mechanics doesn't, necessarily - but it does embrace the whole conscious world.  

Language

Visual symmetrics focuses on the mechanical translation of Asymmetric Code - to our language of symmetry.  It's a continuous pattern which occurs before and after acknowledgement; therefore, at no point must our study advance in the form of shapes.  Because of this, we are constantly pushing the boundaries of how we see - to a point where we look back at our visual world from a new level of understanding.  The question: Where was I?  More directly, if not a symmetric plane, then where?  It's unlikely, at this stage that any reader could give an accurate reply.  However, through the study of the translation of codes - he/she could perhaps one day be able to alter their own language to become affluent in the language of the universes.

Lost in Translation

Sometimes things get lost in translation - the reason language and behaviour take such diverse forms; and this is the same when asymmetric code gets translated as visuals.  e.g, I was looking at such and such a thing, and I missed my favourite program.  This is because as things are being translated, the language fits our position, yet still some is lost.  So, we study the stream, not blind ourselves by the barrier.  Because the stream contains all information that could be translated to our symmetric world, by observing it, we see how our surroundings deal with those effects - then theoretically, we don't miss the program.  This is how the reader shifts into the new dimension.  Symmetric codes are a constant in the symmetric plane; and as such, go beyond what we see.  Although not all asymmetric code is meant for translation - because of this, we don't know how the unseen data affects us, nor the advances that would benefit if we did.  However, with our newly acquired knowledge, we could take the alien codes and translate them to visuals.  The belief is that a person can shift into new dimensions without the aid of machinery; also that this can be attained by gathering knowledge.  The more knowledge we gain about translations, the larger wholes we acquire, so the ascension into so called 'alien planes', rather than a physical process of one to the other, is merely a broadening of the senses.

Determinism

An important point, that as beings of a symmetric plane, our lives revolve around the translation of asymmetric data - that is the translations which are lost and those that are not.  For example:  You were at a business meeting and the purpose of that meeting was to set parameters for the next, which would happen one week later.  You are familiar with the symmetric system and have began to notice its applications in the real world.  You and your partner talked about materials.  You gave him all the information he needed and vice versa, because neither of you wanted any data to go amiss.  But there was a problem.  You and this guy never quite hit it off the first time.  He had this thing going on with his hair; and for whatever reason he never liked you either. The meeting is an important one, neither can miss and as you both struggled through - eventually, you left it to him to set the time for the next; and he set it for ten-thirty.  It wasn't until the meeting ended, you discovered that the time he'd set was not ideal, because next week at nine thirty, you have to be at another meeting which will last three quarters of an hour; and leaves you only fifteen minutes to get there.  The meeting cannot be rescheduled - and now, whether you'll make it or not is anyone's guess.  See what happened there?  While you were both distracted, important information was lost and this shaped your path of reality.  Was this wrong?  No.  In fact, if it were not for the acquisition and loss of data, we would have no path at all.  We must gain data, we must lose data in order for us to have any path - but what Visual Symmetrics says, is that you can still store this information - with all of its probabilities, so the next time you have a meeting, you can be better armed to ensure the outcome will suit everyone.  

Brain chemistry

In this section we turn to the human mind, governed by the symmetric plane.  Love, hate, fear, etc, they each stem from points; and it's the distance of opinions to these points which determine success when it comes Visual Symmetrics.  

Opinions can either imprison a mind, or free it; the closer a subject's opinions, the less bound he/she is by perils of the symmetric plane. - A point worth noting since our journey is one which aspires to immortality.

Yet one could ask why we take opinions to be a potential gateway to higher existence. What's so special about them? Well, Visual Symmetrics homes in on the unusual, and as we shall uncover, the topology of opinions in certain brain types takes an unusual twist; since those of the immortal mind confine less, it's this type we mainly discuss. Normally, opinions of love, hate, fear etc, clash in some way to the existence of those who own them. Love, hate, fear etc, become not only boundaries, but a whole motive for existence (consequential). The immortal mind, however, is multi-dimensional. Think of the point as a locked door, and the likely-hood of getting through, (the weakest point), depending on the distance to that door. Too far, (strongest) is equal to try to bash the door down, which doesn't work.  At the right distance though, one may pass through. It's simple: if there are less boundaries to the immortal mind, which lessen as opinions increase, then we arrive at a different door; because the point just got weaker; the initial motive mutates and we find ourselves at a new level. But it's too early to say what level that is yet; or what opinion we have gained; for that we need more proof and the first place we shall look is where points and opinions bring together brain chemistry.

In context

That is to say, the further a mind could be regarded to have opinions from their origin, the more mortal-mind the subject owns; the less opinion compared to immortal minds, and the stronger those few are.  It's thought that strong opinions stem from the anxiety of why the subject had 'it' in the first place.  Opinions of immortal minds are weak, because they must be willing to entertain conflicting ideas.  The trick is to get behind these origins, because even if tests fail, a new dimension will likely show here.

We're not the only creatures to have feelings like those basic, mentioned above.  A lioness licks her cub on the ear; an ant carries an injured comrade; on the same note, a spider eats her partner after mating; so we are perhaps the only creature with a thought on what love is; and on a dimension other than a symmetric plane, who knows the consequentials motive to life.  

Beyond our World

Each person has a unique concept of the universe.  In fact, the concept of each must have implications for a future model, if it is to be accurate.  We can only guess at how another human sees what he or she sees; we can never derive a true likeness of an idea that isn't ours; all we know is what we experience through interaction.  When we open our eyes, we see the world before us; when we close our eyes, we don't.  So, any vision of the universe, although no truth could be found for the whole through a single concept - a concept, no matter how wrong it may seem on the account of physics, is the be and end-all in the life of an individual.  As humans on a symmetric plane, and though we hold different concepts, we each have one thing in common: our senses guide us towards this interaction - in a way that is unique only to our plane.  This structure is created from the inside, and grows as individual concepts grow.  --  There is only asymmetric and symmetric code -- and in a chaotic universe, it's the boundaries of these, with regards to time that explain how planes cross over at each point -- throughout the system.  It's as though the large hand of our creator appeared suddenly and sprinkled dust -- 'til there were beings, like us, whose ability to view that dust is limited to certain angles.  

The universe and the individual are classed as being the same entity.  Apart from being able to describe perception, Asymmetric and Symmetric code may be used in an attempt to define our universe; then asymmetric code is referred to as AC space, and symmetric code may equate to visibles regardless of composition and size.

Our plane, which may or may not exist physically, is perhaps the result of AC space - consequently, we are provided a coordinated visual system, (symmetric), which is not only our home, but the barrier which prevents us from a visual plane - so if we exist physically at all, we may exist across all planes.  

The origin and reversal of AC space  

The origin of AC space is not fully understood, only that it must be completely without mass to satisfy the hypothetical law of Real Asymmetry.  As soon as Asymmetry exists, Symmetry must exist also.  Symmetric Code is a flag for all mass in AC space.  It allows us to visualise coordinates of AC - SC, whereby visibles are composed, aligned to form a plane at points within an asymmetric field - through the transformation of its reversal product, SC to AC.

So, what exactly is AC reversal?  To ask such question is equal to focus on a point in space and ask why it exists - which may not be ridiculous as it seems, since the whole study of visual symmetrics is based on AC space.  After the mysterious formation of AC space, there is a general idea that the opposites perform an acknowledgement of each other - similar to when magnets repel at opposite poles.  Because the repulsion is instantaneous, a force is created, such as AC and SC are infinitely bound.  (The best way to describe this, is to have two magnets which repel and force them together, trapped behind a barrier).  This is called the cycle of SC transformation and AC reversal.  The present inability to describe how AC space is formed may be due to the variation of coordinates AC/SC - one would expect to increase due to AC reversal, time (variation of coordinates; time=time variation).  The hypothetical law of Visual Symmetrics makes it extremely difficult, if not impossible to observe a time for which coordinates differ significantly to the coordinates by which the observer operates.

Visual Symmetrics throws an imaginary model of an alien, who steps from his own plane -  into ours, into the study.  It's called The Alien Experiment.  By highlighting key points necessary and in proportion to the way we behave, shows how our concept of the world forms from something we don't comprehend.

The alien experiment is really like a new pair of specks over the study.  The reader imagines this text to be an observation of our plane - translated to us by an alien.  If each reader unconsciously imagines the alien step from a world we can only catch a glimpse of, to our world in three dimension, shows that it must be possible for us to appear in his world, as he knows it and that it may be possible through our study. We acquire a new level of comprehension not fully out of our grasp, and with that realisation - the reader advances into the unknown.

Living amongst others'

Now we know the process involved for an average being inside a symmetric plane.  - And at this stage, it's important to highlight that of other planes (all other dimensions), which reside not only alongside us, but intersect us.  Asymmetric code is responsible for the make-up of our senses.  Symmetric code is responsible for their isolation.  One could simply say that our senses (regardless of which plane we dwell) is the one thing which keeps us bound.  Through the study of Visual Symmetrics, we gain access to the coordinates which unbind us; where the coordinates are not a string of numbers, but the acquisition of previously unknown senses; and as our awareness of these senses broaden, we gain a better understanding since we can visualise the topography as we ascend planes.  But surely, one might say, as abstract beings, we would be unable to gain any extra sense; and surely, one might add, that if we did, this would only encompass us further. - Thus we would have no more freedom in any other world than we would have in our own.  And the answer to that would be: no, no and no. This is because Visual Symmetrics uses imaginative recognition as it's mediator.  It locates the coordinates of intersecting planes and translates them into either computerised, or imaginative visuals.  As we broaden our senses, we will create a visual simulation, which may take us far as we want to go - regardless of ever increasing/decreasing AC space and derivative codes.

The abstract connection

Everything is connected to everything.  We attempt to understand this connection; but do so, for the most part, abstractedly. This is because we have tuned in to the stream, we see a similarity between it and our acquired knowledge: Abstract behaviour is our diversity as physical objects - The connection is our observational results, abstractedly equal across dimensions; and here we may reach many conclusions, but the one we are interested in for now, is the one which shows the impossibility of not having an abstract connection - thus, we can never leave our symmetric plane, because transferred energy (codes) equate instantly back to us.

Almost

Though almost is a word that belongs to the past tense, it must first have had implications towards an aspect of the future; thwarted only by the increasing probability that another event would take place; and this leads us to the first of dimensions we shall encounter in VS -- 'almost.'  While symmetric data swings by aplenty, our minds are stuck, permanently in the transitional/reversal stage. For instance, the door almost moved, the clock almost touched another second, water almost came rushing from the faucet. While these are general examples, the power of living in 'almost' is not one to be sniffed at. In 'almost', our brains initially use VIR to calculate the position of pending symmetric data; the vibration of objects with pivots, like the door, or the clock, one can find little room for error. A requirement of VS is that all students must enter this dimension, because already processed data (SC) has the tendency to isolate and confuse, our success in learning would be greatly reduced if we did not. Not as eerie as it sounds, our pass mark for symmetric data is lowered; wholes are acquired from the lower-level, which to those just beginning our study, could be interpreted as living solely in the AC dimension.

Time in Visual Symmetrics

There are many arguments to be taken into account when we think about time and the issues that relate to time.  The question of whether it exists has baffled philosophers from around the world for centuries.  There is little doubt, however, that whether we can come to a conclusion over its existence, the effects of how we perceive time will always be significant, all things have a routine and we can measure physical changes that take place.  But why is it so difficult to explain?  The perception of a physical, present tense reaches beyond our capability.  The brain is constantly engaged with processing visuals and predicting the immediate future, and takes for granted that what is seen is only a reflection of what has occurred.  It is through a series of events that the future become present and present become past. Yet one can never truly say that they are in the present - because by the time the realization of the tense is fulfilled, the moment in question has already lapsed.  Consequently, the time frame of 'has been' and what is 'to become', in a psychological sense, seem considerably substantial than that of 'being.'

For problem-solving, we will discuss time using various concepts.  However, the boundaries of these concepts will either be time -- synonymous with events, or where events and time are separate.  We use time -- synonymous with events when we want to study the behaviour of individual parts of a system; and time -- separate from events when we want to observe a system at equilibrium; it's called fatalism and reductionism for philosophical discussions.   

1)

All time in Visual Symmetrics is psychological; because each concept is built on a single system, this is the most accurate way to describe it.  Regardless of that, it still plays a vital role in the acuity of senses.  Set amounts of objects, people and boundaries affect the way an individual perceives his/her environs; and observations on subjects where contents move within the boundary at different rates will reveal a well of data concerning perception and the acuity of senses.  However, no two perceptions are identical, and we are only interested in significant differences.  

2)

Fatalism and reductionism: the twist of Visual Symmetrics on philosophy

We should - by now, be aware that time is an important factor in our study -- whichever way we look at it, be it through the philosophical concept of fatalism, or the much contested concept of reductionism. As students of Visual Symmetrics - and potential candidates for immortality, we are to favour neither, yet suppose a loose reality and observe both. 

Fatalism. It's all about things; and how things -- being the crescendo of events, are also the events which lead up to crescendos and are 'marked by a concern for material wealth', which many of us would call 'bourgeois'. In this dimension, we observe how the mortal mind has control of time on Earth - and though immortal minds are - for now, unable to break free from this control, are able to inhabit niches to be least affected by those who intentionally/unintentionally control events through 'bourgeois' behaviour. All mortal minds posses this behaviour-type, regardless of class - and here, a cluster of materials (event) is known as drama, where the mortal mind is a tyrant, and we -- immortal minds, are -- in all dimensions, slaves. 

Drama is the food of a mortal mind. Emotional repercussions are what we call, in Visual Symmetrics, 'artificial strength.' This is because the more causal drama mortal minds encounter, the more imprisoned they become; and while imprisoned, this mindset reacts severely, at the very least he is out-spoken, at the extreme, he uses anger and rage. His actions become an example of artificial strength, which he uses selfishly and with ignorance to absorb self-inflicted wounds. No points for guessing that this artificial strength, is, in fact a weakness where actions go against the universe, until by the universe they are consumed. All things are included in these events, 

a) A one dimensional system in which they are not considered 'asset')  

b) Drama: a two dimensional system, always consists of either a loss or gain of material wealth. 

Reductionism: the independence of time from material objects in which subjects of Visual Symmetrics are not necessarily bound by dramatizing actions of mortal minds.  

Weakness

Weakness, in both opinion and action is, after all, the safest dimension for immortal minds; and here, we encounter the magic which connects both philosophical concepts, fatalism and reductionism, mentioned above. 

Regardless of which concept we use to perceive time, we have by now learned the chain of events likely to throw us into folly, or make our blood boil -- and through this dimension, we learn how to steer clear of them. In effect, we either slow down events, or time. Intellectually, we are free -- our brains, which require a lower-level stimulation do not latch on to those of the all too common extreme; we see we are not necessarily affected by oncoming events - or, using the concept of fatalism: as for the clock, the second finger has not yet moved.

-- On a side note and before we continue, it's important to note that we don't physically slow down events or time - we just do it psychologically.  What we will have, is a proportionate to-scale measurement of various time cycles; and the reason this is important will be revealed in the next few paragraphs. 

Each individual has their own concept of time. This is a unique chemistry and is formed by opinion. Regardless of this, however, there still exists a time that is not psychological, but very real. In VS, this is called planetary time and is shaped, for us, basically by the transition of day to night. Of course there are times to be taken into account that are much more complicated, for now we won't venture from our immediate cycles, that of the planets. 

Imagine the surface of a flowing river. If we were to take a sequence, of say, two minutes and observe that surface - we see that the current -- abstract in nature, will flow -- like strands. The individual measure of those strands have individual cycles and linger in a direction for the given time.  Imagine then, if on a larger scale, that planetary cycles resemble that of the surface of a flowing river - note, proportionate in size, not chemistry: then we can get an idea of how -- if we alternate between dimensions, together with our concept of a variant of time-scale, we may be able to acquire coordinates - necessary to gain unidentified senses, or at the least, add a lingering concept to our theory.

Psychological time and senses

Groups of high-opinionated people, compared with their weak-opinionated counterparts, always posses the least potential psychologically. Basic senses may still be present, but use of them are limited. Imagine then, that we live in a time cycle -- or a dimension with a planetary time astronomically greater than our own; and as beings we posses one or more of an extra sense.  If the dimension was proportionally smaller, then technically there is a chance that we would have no extra sense. And this is the reason why VS experiments with concepts of alien time-cycles; we want to translate hidden information and the only way to do that is to make more or less psychological room; because ultimately, the amount of senses we have are a result of the amount of time -- psychologically and physically we believe we have.

Lift off

By now, through the dimensions we have encountered, we should be ready to browse over the next; and the reason our journey through those first is important shall become clear. The first goal was to make enough psychological room, that we might gain extra sense; and we find we are no longer only acquiring wholes. Overall, we are equipt to avoid a high amplitude of 'fake' emotion, and this has leveled somewhat the amount of wholes we acquire. Since experiment with 'before' we now can visualize a new interactive system, and in the symmetric plane, it's known as the horizon.  The symbol for horizon is a line and like the symmetric symbol, it's one that doesn't take any real form. It's that the real horizon, in this case, local -- between near matter and space, defines events, but with some ability in the 'before stage', perceptually, they don't always become whole. In learning to spot events before they occur, we catch a glimpse of how a species may be thrown into interaction; and in recognition of this dimension we gain a hybrid sense: the ability to distinguish between systems.

Reviews

[Laminators Dubai]

this is something we often read and discuss with people and debate. i liked the Psychological time and senses the most...because this is how its done.
we have to change our mind and those narrow walls.
you've joined the professional and casual language so it was easy to read and understand. this lesson has everything i guess, i cant think beyond this at this time.
good job^^