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Cross Product (explanation)
See also: [L/D] [S/D]
See also: [af/art3/pkda2001 - pizoig gaming projects]
See also: [Style Sheet for CrossProducts]
NOTE: There is no possible return from this page; well, other than the
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On this page: {How to Use/Formulate Iconspheric CrossProducts}
{Background to the Cross Product} (genology, concept, etc)
{Theoretical Underpinnings of Iconospheric CrossProducts}
NOTE: Recent theoretical work on the possibilities of Quadrupple (4-tupple) Cross Products has been
suspended due to a lack of funding. Data processin continues - un-abated.
AxB :: C (var) --> <concept>
See also: -[]-
-[Triple Cross Products]-
How to Use
How to Use the Iconospheric Cross Prodtuct
Much of this section owes much of its existence to Shostakovich
Symphony #11 (as well as to:
Liz Story: "Wedding Rain"
J.S. Bach: "Jesu, Joy of Man's Desiring"
Barry Gibb: "Night Fever"
(and nine "tips" of the towel to "colour",
"god",
and "the beegees")
(yep: It was THAT kind of day)
-- Thanks, "Gentle Beings", Frank.
) -- Lisp and Ada live!
Quickly: XX x YY (z) ---> thing
Interpret "XX" in "YY" terms on var "z" (of domain XX) and
it will
yield thing
For example, if we write:
FUT x ABS (time) ---> time travel
That is take the futurist POV (point of view) and look at it
in absurdist terms and and then operate on the variable "time"
(taken from the domain of Futurism) and we get "time travel".
That is, it IS absurd to think about time travel, isn't it?
But, then there are MANY things that such
"iconospheric cross product equations"
can
produce.
That is, futurists have been looking at "time" forever (or as close
as makes no differences), but have they ever looked at it from
and absurdist point of view? That is a FUTURIST (temporarily?)
puts on the hat of an absurdist and then through a pair of
absurdist-tinted glasses, re-examines the quite familiar thing
called "time.
The result is clearly given by the WORD PROBLEM:
If a train leaves New York traveling at
50 mph, headed towards Chicago. And at
the same time a [different] traing leaves
Chicago traveling at 60 mph, headed towards
New York. And it is 300 miles between New
York and Chicago (as the bird files - obviously
un-landen by a saxaphone, but with a catchy
tune in her/his/heths head). THEN:
How long is a piece of string?
or: If a tree (named either Woody Allen,
Woody Harrelson, or Rachel Carson) falls
in a forest, and no one is around to
hear it, THEN
What colour IS time?
or: If oil will run out in 100
years, then what do we need
to do now to insure that we
(the we then in the future,
thate wee hope wille note
curse Us.) to make it
pleasant for ducks
penguins, monkeys,
and other
non-door props?
Why do i ask this?
exactly: I ask it why. (period or semi-colon
as per your preference)
But; alas, i digress.
And now, our feature presenation...
Background of the Cross Product
(Geneology, COncept, etc)
The basic concept of the cross product space conveyeur is based upon the
idea of a VECTORIAL cross product.
Briefly:
A vector is a line that has both
MAGNITUDE (size, length, mass, etc)
AND
DIRECTION (North, Leftward, <h,k,l>, etc)
The direction can be in one dimension, two, three, four, etc.
Technically speaking the taxonomy of the vector's family is as follows:
0 dimensions -- point
1 -- 2 points --> a line segment
2 -- line segment + direction --> a vector
3 -- vector + behaviour components in at least 2 dimensions --> a tensor
4 etc
The current (standard) definition does not include the possiblities
of fractal dimensions as making up the various lines, vectors, tensor
thingies; sadly, a short-coming, me-thinks.
Regardless, for the purposes of the icon-o-sphere, the cross product is
the "thought/idea/precept" resulting from taking one view "times" another.
For example, we could cross: Jazx with Art
(the first being the so-called PRIMARY variable,
the second being called the so-called SECONDARY
variable) and we might get:
3 of the many attributes of Jazz
=============================================
Jazz -- pattern inter-rupted pattern variation
colour color juxtapostion of shades/
wheel colour stripes tones
interrupted by lines brightness/
crossing at odd angles darkness
line stripes stripes down the highway varying line
value down the interrpted by dots (the value with odd
highway hiccoughing stripe painter shapes at either
of Sesame Street fame) regular or ir-regular
intervals
There are (natch) no hard and fast rules as to what is placed
into the grids. One of the primary goals of the icon-o-sphere
is as an idea-organiser / idea-generator / idea-exploder / ... /...///....
These entries could then each be expanded upon to form new streams
of creativity.
And of course, there is no limiting the process:
One could imagine a ordered cross product of THREE variables,
having Primary, Secondary, Tertiary variables.
One could imagine a non-ordered cross product -- ie, where the
two (several) variable are equal in strength and neither
dominatates. This is usually lumped under the all-inclusive
monicker of "balance" or "equal access" or "fair and balanced"
which are in all iconospheric reality bogus to being with.
But, it's a start.
Theoretical UnderPinnings of Iconsospheric CrossProducts
Metaphysically speaking, i would say that much of the iconopherometry
ows much of its underpinnings to 'pataphysics, and of course thus,
consequentially to the theatre of the absurd.
Analogically speaking, an anisotropic chronospheric crossproduct is
like a zeroth order iconospheric crossproduct; but, of course NOT
of a self referertial form. [Note 1] (that whole mess handled in the note)
The so-called Borges Equations
In every system, the possiblity of so-called "cascade failure" (refered
here in more politically correct (and more accurately) terms as
"cascase phenomenon" -- which include things like "idea explosion",
"dimensional runaway", "mis-translation", etc); refer to the section
on Cascade Phenomena, below.
A constant poroblem is that once something is started it might
never end. An example from physics was that at the time of development
of the atomic bomb.
It was thought that setting off the bomb could trigger all of the
Nitrogen 14 (normal isotope of nitrogen) to fission as well, thus
turning the entire earth (78% of the atmosphere) into a giant fire
ball. As it turns out, "mistakes were made" and it didn't happen.
This topic was treated by the ??author?? (Slaughterhouse Five)
in his story "Ice Nine".
Thus, a majore concern is cascade phenomenon in the + form; ie,
where the cascade keeps expanding without end (or at least a
case where the convergence to (finite, definite) limit is so
slow as makes no odds.
A note on notation is inorder. We treat cascade phenomena by
menas of their corresponding equivalents (even if only partially
equivalent) in terms of infinite (and finite) series.
Thus, we will speak of "+" and "-" cascades. Meaning by this
a series which does NOT or TOO QUICKLY, respectively, converge.
The writer/poet/librarian Jorge Luis BOrges explored these kinds
of "infinity" concepts in many stories and essays; refer to the
various popular editions, as well as the so-called "standard
edition" interlingual text, under the editorship of Eliot Weinberger
as "The Collected Fictions", "The Collected Non-fictions", as
well as "The Complete Poems". Specifically refer (googel or
chedk the pde HERE) to "The Library of Babel", "The BOok of
Sand", etc.
-[B&N books]- Complete fictions, etc
In the book of sand, we are presented with a book with an
(apparently) infinite number of pages. Borges gets the book
in a trade for a very rare edition. At first fascinated by
the book, he later dreads it (partially due to his realising
how dangerious such a book would be in the wrong hands) and he
thinks to burn it. But, he is affraid that (since it may well
have an infinite number of pages), that the book might consume
all of the Earth's oxygen. A direct example of a "+" cascade
phenomenon.
Thus, the Borges Equations (which apparently, he never got
around to wriing down in terms of a formal system; similar
to the work of the linguist/polyglot Ferdenand de Sausure
(see his (postumously written) "A Course in Linguistics"
(french-title-goes here).
The idea is that these equations revolved around several
key ideas:
infinity - but both the un-containable infinity such as
the cosmos itself (assumed to infinite), but
finite infinities such as "The Library of Babel" and
"The Book of Sand". Similarlly, the idea of the "I Ching"
in taoism.
choice - our old friend free will. This is most eloquently
examined in "The Garden of Infinitely Forking Paths".
-[www.TheModernWord.com]- interesting site
etc
That is, Borges builds these ideas on a metaphysical level
and from each he creates a fiction which is so close to
possible as to leave the reader really wondering if it is
indeed fiction.
One of the most important of these is given in both the
non-fiction essay and the fictional story: "The Library of Babel".
Which borrows or is complementary of the infinite number of
monkeys working out the complete and perfect version of Hamlet.
Local refs: -[Jorge Luis Borges]- (the A/H project)
-[Library of Babel]- (the A/H: text + nifty gif!)
Cascade Phenomena
Closely related is: Irreversibility: -[scientist entry]- (thermodynamics)
Minus Form (implosion)
"The Clone", "Fantastic Voyage"
Plus Form (explosion)
"Ice Nine"
"StarBurst" "the grammar"
See also: grammar: -[in scientist]- (maths)
Idea exlosiotn
Dimensional Runaway
Mis-translation (commonly refered to by phrases such as "lost
in translation" or "it looses something in translation", etc.
Notes
(this section only)
[1] The problem that arrises here is fairly straight forward.
By its very nature a chronosphere must accept the existence
(and therfore the extance as well as existince) of time. Now
while this is "not really" a problem in converting or Inter/Working
between the chronospheric and iconospheric approaches; it is most
certainly tedious.
Since chronospheridynamics postulates a non-zero value for the
time variable, and in the universe of discourse with at least
the *theoetical* possiblity of rotating, cylinderical black
holes, then one must consider at least the possibility of
isotropic time. How this might be solved is far beyond the
socpie of the current work (and certainly far, far beyond my
understanding of such things).
As such, we shall take it as read that any possible chronospheric
system is at least *partially* a subset of "certain" iconospheric
considerations.
Note that iherent in chronospheridynamics with the possibility of
time travel to the past, then paradoxes must at least be considered
as possible; ie, the conseequences of self-referntiallity in time.
This (nominally) leads to time paradoxes. Which are dealt with here:
-[FutxAbs(time) --> time travel]-
NOtice that in terms of iconsopherometry, such anomolies manifest
themselves "merely" as abusrditst projections onto other iconospheric
axises. Thus, NOT presening a problem in self referentiallity, which
in iconsopheridynamics leads idea expansion. Alghought, it should
be noted that such an expansion can (given the correct conditions
and/or lack of quenching restrictions) lead to cascade phenomenon;
eg, idea explosion, dimensional run-away (which would require
direct use of the Borges Equations in OPEN form rather in than in
closed form, used here -- see above).
So, in summary: We take it as read that a zeroth order self-referential
cross product in Iconospheric Space (or even in ANY corresponding k-space),
is NEVER going to find an exact mapping in ANY chronospheric system.
Approximations are of course possible; eg, partial mappings, mappings with
restrictions, special cases, etc.
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