In genesis, time-like information units. Form generation and regeneration in complex angular momentum cascade leading to tornado genesis involves not only topological transformation of equipotential surfaces, but topological transformation of constant entropy surfaces of several levels of abstraction, such as temperature (T) surfaces, potential temperature (q) surfaces, equivalent potential temperature (qE) surfaces. Particular topologies of each of these surfaces are uniquely associated with coherent (acoustic) wave signatures (acoustically-modified gravity wave modes and pure acoustic modes) generated in process of information cascade through the spectrum of atmospheric wave motions, with the resultant deposition of angular momentum or relative vorticity on various phase boundaries (such as the tropopause boundary). These genetic wave signatures and uniquely corresponding surface topologies -- coupling internal and external sources and sinks -- jointly constitute information units which can be visualized as multi-leveled like a stack of clear acetate overlays, each sheet being its own TONAL-space (as in the music of, say, Karlheinz Stockhausen). The unique relationship between a given spatial topology and its acoustic wave signature, exhibited in severe storm genesis, is not a matter of defining a relationship between sound, color (frequency), and form, as has been done on several occasions in attempts to unify the plastic arts with art music -- such as those made by Scriabin, Kandinsky, Klee, Yannis Xenakis (Formalized Music) -- but is a relationship empirically discovered in Nature, a relationship we have called Musculpt (music-sculpture).Cubist time-pattern superimpositions and multi-level logic. The operators -- in the descriptive equations -- which characterize stacking and unstacking of the information overlays are time-like rather than space-like. The information imprinted on the “transparent acetate overlays” is time-pattern related; it is clock-type information. And the “acetate overlays” are themselves clocks: a time pattern is superimposed upon a less complex time-pattern to yield a second-order time pattern, and so on. What imprints the time-pattern on the time-pattern? Time itself is the imprinter. Time as “imprinter” is called operator-time, which is written directly into the descriptive equations. When time imprints itself, the resultant imprint is a new imprinter -- rather as the hand drawing itself, around and around like a tiger turning to butter, swirls into a Picasso-like Cubist superimposition of time-patterns.
One of the characteristic properties of the Cubist time-pattern superimposition is that it is multi-leveled. In order to understand the information content of this superimposition, a new kind of logic is required, a logic which, too, is multi-leveled. Time-itself, apparently, speaks a language wherein any given statement has stacked themes, like Messiaen’s Turangalila Symphony. If we are unaware that half-a-dozen themes are being played simultaneously, we hear only noise or chaos. But if we learn to musically comprehend instant by instant on multiple levels, then the simultaneity of the stacked themes becomes gloriously enchanting cosmic love play, as the translated (from Sanskrit) title of the symphony suggests. This is a very abstract form of program music. Time-itself, also, it appears, has a program, a program which invokes a peculiar sort of identity wherein it is inherently impossible to absolutely distinguish one part of a system from another, or the part from the whole which contains it.
Multi-leveled logic and the “layered transparent”. But in order to understand in detail the effects of this multi-leveled time-action upon spatially-referenced events, we need as tools not only a new kind of logic, but also a new notion of representation spaces and the types of geometrical figures that can exist within them. Having been unaware of the self-forming actions of time, our mathematical investigations of material systems have led us only to a vacuum state, not also to what the Greeks called Hylê, the fundamental informational ground. The second- and third-order self-forming actions of time have been transparent to us, mathematically invisible. Application of multi-level logic to consideration of the geometrical properties of representation spaces gives us, however, a densely stacked multivalued reference space, which, by operations of time-logic, keeps a composite (stacked themes) accounting of all events that transpire on each of its unstacked transparent “acetate” clock-sheets.
Kandinsky’s book, On the Spiritual in Art, maintains that given geometrical shapes can only be certain colors; a triangle, say, must be yellow. Mondrian came to declare that in representing reality a painter must use only perpendicular relations and panes of pure color. The shapes of Ellsworth Kelly, once saturated with color, define their own spaces. Did these artist’s somehow intuit (via Goethean properties of light) that the time-logics of self-forming are color coded? Cognitive paths described in Rice Pereira’s book, The Transcendental Formal Logic of the Infinite, led her to paint in what she called the “layered transparent”. Joe Goode “looks through” in most everything he paints. Frantisek Kupka, by 1913, had painted a spontaneous “Localization”. No wonder Marcel Duchamp asked himself something like: Of what use is mere painting to a mind attempting comprehension of a multi-leveled universe READYMADE as if single-leveled by enculturation, where every “constant object” and every “other” is a phenomenologically-constructed LARGE GLASS reflecting a peculiar identity into Mallarmé’s “anterior sky” via his “windowpane”, or even via the WINDOWS of Delaunay, which open onto a “new reality” of discrete action in “uneven measures”? The stacked clock-sheet compartmentalization of Picasso and Braque’s Analytical Cubism anticipated modular spacetime lamination, just as did the “simultaneous contrasts” of Chevreul’s color theory studied in Delaunay’s and Kupka’s Orphism. Clearly, each limited spacetime domain has its own complement of limiting values.
Time operates on space to generate form. In Boccioni-Severini-Russolo’s Futurism, the sense of duration was equal to memory crossed into percept. Speed… and it limits. Alfred Jarry (who wrote Ubu Roi) was focused on reaching the limit, any limit, wherever he could find it. Time imprinting itself over into an imprinter does its imprinting only “in the limit” of any given limited spacetime domain. Velocity, acceleration, time rate of change of acceleration. Each have their limits at which time operates, imparting a twist. At each type of limit, a different type of twist. Shape and its topological properties. Time operates on space to generate form. Three kinds of time: 3-fold operator-time. Each depositing and retrieving their own class of time-logic shapes from the layered transparent of the informational ground. Material potential decreases as second- and third-order time patterns elaborate themselves, through twisting, during the crisis that comes when limiting values of the given limited spacetime domain are reached. These patterns in higher order time require for their description number systems more complex, more imaginary, than the natural counting numbers, and hence these patterns are relatively “transparent” to us. Ultimately, a material substance vacuum state is reached, which corresponds to a hyper-stacked time-logic configuration. Time unfolds itself upon the topology of space as emergence of material structure; the disappearance of material structure enfolds quantum action-potential stored in higher order imaginary time-logic configurations: Musculpt. As the limiting phase speed of a given “light” is approached, linear-time slows to a stop relative to the given limited spacetime domain; as the phase speed of a given “light” is slowed to a stop under m' and m", linear-time speeds up to its limiting baud rate relative to the given limited spacetime domain. Contemplation of such cosmic figures of speech -- epanados, palindrome, hysteron-proteron -- inevitably leads one to the following recognition. Pure consciousness in its active aspect is the set of all topological operations on the multivalued reference space; pure consciousness in its passive aspect is the multivalued reference space acted upon.