Aseity Incorporated 1

Aseity Incorporated 1

Chapter Six

Aseity Incorporated

Aseity is knowable experientially in and by us who are her selflife images, her offspring, her other selves begotten in spaced time. We know intuitively what life is by living, by experiencing it in our own living selves. We are ‘self’ conscious, conscious of our own selves, of our own selflife. When personal consciousness first perceives and reflects on its own selflife, it expresses such awareness verbally as “I am”. “I” is the pronoun name of the alpha self. Grammatically, it is the first person, the person speaking. We are also aware of other selves with their own selflife.

Selflife acknowledges its otherself when it adds “Thou art”. “Thou or You” is the pronoun name of the omega otherself, the second person, the person or persons spoken to. The I-self begets its otherself, its you-self and engages in a lifelong dialogue with it.The known “you” exists as the pronoun you inside the knowing self as well as outside it.

Readers should pause for a few moments and reflect on their own selflife existence. They are self-conscious. They are aware of them- selves as being self-functioning feedback systems. They do not need to be told what constitutes selflife, nor do they need to know how the brain works in order to live and love and act as intelligent human beings. They experience suffering and many know firsthand what it is to be a victim of crime and wars. They know by experience what they classify as good and evil. Already, on Page 74, an approach to technological good and evil has been put forward with respect to self-functioning feedback systems.

From the viewpoint of design in Technology, negative feedback in subsystems is altruistic and good, whilst positive feedback is selfish and evil. Not all positive feedback is necessarily evil. For a system of systems as a whole, a kind of positive feedback which favours orderly growth is good. It is the cancerous positive feedback growth of any subsystem which militates against the good of that system as a whole and which incurs the indictment of evil.

By far the major part of modern fiction and its visual presentation in film and television deals with crime and violence. Though most people would like to be thought of as peaceful law-abiding citizens, yet crime and its punishment has quite an extraordinary fascination for them. Their entertainment hours are spent watching what are, for the most part, unsavoury situations. Are there overtones of a divine catharsis in the self-functioning Cosmos which finds resonance in such human behaviour?

Some exponents of natural philosophy do not accept that there are designs in Nature and hence there is no need for a designer at all. If all that they perceive around them is random purposeless behaviour and their own selflife functioning is an illusion, then they condemn themselves to live and die in an intellectual desert.

For others, there is an observable and experiential evolutionary progression. As far as we are able to discern, the goal of biological development on Planet Earth would seem to climax in the human placental mammal. Human intelligence continues to question. What is selflife all about? Matter seeks to know itself, its self, its “I am” and its “Thou art”.Physics poses the seeming paradox of wave continuum - discrete particle duality. Is there a continuum of infinite collective self-other- consciousness pervading the whole Cosmos? Is selflife individualized in real distinct materializations made evident in biological evolution? Are we human persons the matter-masked Dramatis Personae of a sometimes tragic, Divine Comedy? Is the Universe the stage for Aseity’s dramatic unveiling of her Self through her spaced time Otherself?

As already described on Page 64, Holography has brought about a most profound Paradigm Shift or new perspective of reality. It bears repeating and given a little more attention. It is a system of photo- graphic storage which does not use the refraction properties of lenses but rather is effected when the wave field of light scattered by an object is recorded on a photographic plate as a diffraction or interference pattern.

The photographic recording of the image is called a hologram. The latter appears as a meaningless pattern of whorls. When the hologram is placed in a coherent beam of light like a laser, the original wave pattern is regenerated as a three-dimensional image. The fascinating, indeed bewildering, reality of a hologram is the fact that even the smallest piece of it, when taken separately and enlarged to the size of the original plate will reconstruct the entire image and not appear just as an enlargement of a part.

A holographic photo can be taken of a horse so that its image fills the whole picture. If now the corner section comprising just the horse’s head is cut off and this small section then enlarged to the size of the original photo, you will not get a picture of just the enlarged head of a horse but a repeated picture of the original WHOLE horse. Each separate part of the picture contains the whole picture in an implicate form. The part is in the whole and the whole is in each part. Such an intriguing situation when each part has access to the whole is opening up completely new horizons for the understanding of phenomena in both the physical and psychical realms and which are as far apart as life and death.

In part of what follows, the writer gives his own views of these questions and offers novel consistent answers to them. He proposes a plausible, logically valid Theory to make common sense of the observable Self-Evolving Cosmos.

We are familiar with theatrical performances. We can conceive situations in which a dramatist not only writes the play, but also selects the cast, directs its production and plays the leading role. In such a play there could be not only heroes and heroines but also villains, both male and female. The author could select to play the role of some technologically good or evil character. Technological evil is self-destructive, and hence, for those who act roles as villains in the play, the drama becomes of necessity a tragedy or a form of cultural catharsis. On the other hand, for the hero and heroine, seeking their true fulfilment in the reality of technological goodness, the drama evolves as a successful cultural experience.

In the process of writing a drama, the evolution of the plot and the creation of the characters is rarely instantaneous, but is usually a gradual sequence. Every play is a species of self-other-revelation of the author who identifies himself or herself with imagination's conceived brainchildren of artistic creation. Just because the authorbegets some dramatispersonae who act evilly in the plot, does not mean that the author is acting evilly. Members of the audience are not evil when they applaud the acting of those performing such roles. Even if the author should choose to act the role of a person who commits technological evil, there is nothing evil in that. Techno- logical evil of its very nature is destructive both of the self who perpetrates it and of the s-f-f-s which it is designed to serve. Putting on show such dramatic presentations of tragedy effects an emotional catharsis for author, actor and audience alike.

Aseity, the Selflife Architect of Existential Relativity, conceives and construes the “I ↔ Thou” dialogue of the script. She puts the words into the mouths of her actors and directs the action of the word-play of the Drama of the Cosmos whose evolutionary plot is worked out in a system-set of self-other-functioning feedback subsystems. Such a system-set is a dynamic programmed matrix of interwoven threads of material implication's If-hypotheses and then-consequences. If some particular sequence unfolds for the positive becomingness of the whole system, then its functioning is technically good and its self-survival is virtually guaranteed. If it proceeds to the detriment of the whole and ultimately of itself, then it self-generates technological evil. The sooner it is discarded and allowed to destroy its own self the better, unless such retrogressive self-abuse be made a means to fertilize some new aseistic use. Aseity's self-revelation is made in an evolutionary two-in-one-act drama of aseistic comedy-romance and tragedy-catharsis.

When we turn our attention to the self-other-functioning of free human selves in this grand worldwide drama of universal relativity, we come face to face with the seeming paradox of aseistic omnis- cience and human liberty. To know is to become. Aseity's knowing everything functions through her foresight's trial and error technique of If-then material implication in a way analogous to humans' computer games. We can program a computer to play chess and win. As her real living impersonations, we are like Aseity herself, both spectators and actors of do-it-yourself roles on her world stage. We are not free to choose the parts we are given to act nor the rules of either good or evil acting, but we have the liberty to orientate our own self-other relativity. Using the above ideas of holographics, our individual parts are in Aseity’s WHOLE and her WHOLE is in each of our separate parts.

We are set our special individual performance roles at birth by our parents. Human selves are masked person images, begotten living spaced time otherself-becomings of Aseity's own self’s being. In her ovoidal selflife drama we are her "Thou art" words made flesh at her secondary focus. In a technological frame of reference, her growth tree of self-knowledge could bear either good or evil fruit. All fruit, as fruitful becomingness is good. If fruit does not ripen but retains a virginal singularity, its vain becomingness becomesa sterile lie and its pride-inflated self-interest now becomes self-destructive. If the fruit is fertile and blossoms into a ripe and more fruitful togetherness, then the positive becomingness of the latter becomes its parent’s possessed pride.

With spaced time ovoidal mirroring, Aseity creates real focal images of her self and disguises each one with a privatized matter- made personal mask. Because these masks are adamic, being made from and returning to the dust of the soil, their becomingness is foiled by the curse of thermodynamics' entropy which entails their eventual running out of available or useful energy and their resulting demise. Their fettered feet are clay-clogged in singularity's prison of false freedom and pseudo self-sufficiency. Their bodies are mortal. The price of privatization or separation for an individual is death.

As imaging individuals, they are distinction's novel particularized expressions of Aseity’s "Thou art" begetting. Together in union as a set-continuum they are first on stage as her second person’s act of voiced "thee" units, the complex set of all her individual little spaced time “I-me-mine” other selves. As the author and director of this self-other-life drama, she designates to each one their role. Into each cerebral computer she progressively programs her script.

The plot of the drama is simple yet subtle. It is a revelation made in the light of electromagnetic radiation and its universal relativity, of the existential law that all growth and sustainability, physical or psychical, is immanently self-functioning but also transeuntly other-dependent. From this ontological imperative, flow the Laws of Inertia and of Entropy. These are as valid for physical motion as for psychical emotion, for the thermodynamics of molecules and particles as for the psychodynamics of persons and their evolving societies.

Her dramatic sense knows no limits in its cosmic expression of how the distinction of self and other is swallowed alive in the unity of their union. With prodigal liberality, she explores endless avenues of revolutionary and evolutionary ovoidal systems-within-systems of self-other-functioning trial-and-error feedback. In the drama's ultimate analysis it is Aseity's Alpha-self who, in the do-it-yourself act of her begotten Omega-self's spaced time becomingness, plays simultaneously the roles of both spectator and actor.

Aseity’s maternal selflife's goodness is diffusive of itself. The dynamic nature of her will-powered Existential Relativity impels growth. It is not evil for Aseity's first person act to voice itself as "I-Me-Mine". However, without some better reason to the contrary, it would be a technological evil to leave or to make sterile what is intrinsically good and fertile. In the grand finale of her second person’s act, she speaks her Omega-self's last words as an incarnate "We-Us-Ours". In between, there is an evolutionary process of extraordinary set activity. Aseity chooses to make what is a happy ending drama for some images in her second-act-self. She also chooses to make a tragedy for other images of her first act self by contrasting her plural "Ours" with human’s singular and mortal "mine".

Aseity's characterization of some or many of her real imaging otherselves as evil-ones is not a technological evil in her factual self but only in her novel fictional otherself life and this serves to highlight the diffusiveness of her intrinsic goodness. Within her focal other self, Aseity chooses to create living images of her true self and also living images of a hypothetical false sterile self. The latter characters in her drama are programmed to choose to act as sterile living images of a purely hypothetical singular virginal "I-Me-Mine". The roles of these evilly acting ones which she creates, she acts out with her human do-it-yourself-kits. In her script there is a final cathartic elimination of all traces of unbecoming mine-ness, and she is left to regale her true other selves with the living waters of the precious stream of "Ours".

Human intelligence can question the origin of our Universe and what other worlds may have preceded it. It does not really matter how addled or ill-fertilized might have been one of Aseity's alter- ego's eggs whose hypothetical primeval BigBang was responsible for that new spaced time trial-and-error event of which we are now an historical and conscious spectator-actor part.

Entrance to her heavenly queendom within our human conscious- ness is for those who belong to a set of all sets, a unity of all unities, which ploughs ahead to make all things anew and does not look back to get its future life from models in a dead and gone past. In the New Paradigm Shift, we become conscious that each of us is in Aseity and Aseity is in each one of us.

There is neither partiality nor any squeamish sentimentality with Aseity. Spaced time's Greatest Show on Earth must go on. She chooses whom she wills, for what she wills, when and where and how she wills. It is only within the context and the constraints of the logic of self-functioning-feedback-systems, in association with the concept of positive entropy in Thermodynamics, that a truly satis- factory explanation and understanding of the problems associated with the nature of Good and Evil can be found. Philosophers of all times have racked their brains to account plausibly for what they observe and judge, for better or for worse, around them. Mythologies have tried to satisfy primitive minds in their search for some kind of vital meaning to the struggles and trials under which all the inhabitants of Planet Earth seem doomed to suffer.

Many people consider pain as a physical evil. Pleasure and pain are of the same physiological construct and are complementary effects of self-functioning feedback sense-perception. Pleasure is appetitive whilst pain is preventative. Without the reflex feedback excitation of pain, all bodily life as we humans know it would soon destroy itself. The pain experienced when a hand is put into fire is a warning telling the owner to withdraw it or else suffer severe consequences. Pain is a very real blessing in disguise. Without it, we could eat the hottest foods served on burning coals, drink the strongest acids and cut our bodies to pieces, and not live long enough to blame and curse whoever designed the world this way, for such crass stupidity of letting living things destroy themselves so easily and without warning. All animals, birds, insects and sensitive beings must feel some reactionary reflex pain or discomfort in order to survive in a possibly hostile environment. Self-consciousness may heighten the perception of both pain's discomfort and pleasure's appeal but pleasure and pain are essential for the self-survival of all living sentient physical beings. To a more limited extent, vegetative life, too, knows feedback mechanisms for self-preservation.

As a perception resulting from negative feedback in some sentient body, the stimulus of pain is a technological good. It is Nature's most efficient counter to any possible form of self-destruction. Pain by its nature is not evil's punishment but a good deterrent. Self-inflicted corporal masochistic punishment is courted and self-sentenced by those who, through ignorance or malice, abuse the responsibility of acting with conscious self-control and negative feedback when incorporated into a self-other-functioning feedback system. Guilt and shame are emotional psychical analogues of motional physical pain. In self's judgment of its own unbecomingness, they warn of falsity's evil deceitfulness and are the self-imposed sentences of selfish sterile indulgent behaviour.