"Love is the one thing we're capable of perceiving that transcends dimensions of time and space."
A shorthand markup language and UI API for rendering into various mediums.
medium.com draft link: https://medium.com/@a-guess-at-the-riddle/archetypal-taxonomy-opponent-processing-1af6bd0fbf0f
(need to relarn about XML DTDlang, SVG, learn SMIL, what about space and time here?)
polyhedra, color harmony, music harmony, "WORD" (e.g. phonemes) harmony CRYSTAL_FORM: {PROPERTIES × OBJECTS = PROCESS}
(1) tetra; (2) hexa; (3) octa; (4) dodca; (5) icosa
*----------*---------------*------------------*------------------*
* form * as-object * as-property * as-process *
*----------*---------------*------------------*------------------*
| tetra | tetrahedron | tetrahedronal | tetrahedronize |
| hexa | hexahedron | hexahedronal | hexahedronize |
| octa | octahedron | octahedronal | octahedronize |
| dodeca | dodecahedron | dodecahedronal | dodecahedronize |
| icosa | icosahedron | icosahedronal | icosahedronize |
*----------*---------------*------------------*------------------*
see:
- Field, J. V. Kepler's Geometrical Cosmology
- Francis MacDonald Cornford. Plato's Cosmology (1997)
- Plato. Timaeus
- Daud Sutton. Platonic & Archimedean Solids (Wooden Books)
- Anthony Pugh. Polyhedra A Visual Approach (2023)
- Peter R. Cromwell. Polyhedra (1997)
"The terms “prescision” and “abstraction,” which were formerly applied to every kind of separation, are now limited, not merely to mental separation, but to that which arises from attention to one element and neglect of the other. Exclusive attention consists in a definite conception or supposition of one part of an object, without anysupposition of the other. Abstraction or prescision ought to be carefully distinguished from two other modes of mental separation, which may be termed discrimination and dissociation. Discrimination has to do merely with the essences of terms, and only draws a distinction in meaning. Dissociation is that separation which, in the absence of a constant association, is permitted by the law of association of images. It is the consciousness of one thing, without the necessary simultaneous consciousness of the other. Abstraction or prescision, therefore, supposes a greater separation than discrimination, but a less separationthan dissociation. Thus I can discriminate red from blue, space from color, and color from space, but not red from color. I can prescind red from blue, and space from color (as is manifest from the fact that I actually believe there is an uncolored space between my face and the wall); but I cannot prescind color from space, nor red from color. I can dissociate red from blue, but not space from color, color from space, nor red from color."
"Prescision is not a reciprocal process. It is frequently the case, that, while A cannot be prescinded from B, B can be prescinded from A. This circumstance is accounted for as follows. Elementary conceptions only arise upon the occasion of experience; that is, they are produced for the first time according to a general law, the condition ofwhich is the existence of certain impressions. Now if a conception does not reduce the impressions upon which it follows to unity, it is a mere arbitrary addition to these latter; and elementary conceptions do not arise thus arbitrarily. But if the impressions could be definitely comprehended without the conception, this latter would not reduce them to unity. Hence, the impressions (or more immediate conceptions) cannot be definitely conceived or attended to, to the neglect of an elementary conception which reduces them to unity. On the other hand, when such a conception has once been obtained, there is, in general, no reason why the premises which have occasioned it should not be neglected, and therefore the explaining conception may frequently be prescinded from the more immediate ones and from the impressions." Charles Sanders Peirce. "On a New List"
see Masato Ishida. A Philosophical Commentary On C. S. Peirces On A New List Of Categories Exhibiting Logical Structure And Abiding Relevance (PhD Thesis) https://etda.libraries.psu.edu/files/final_submissions/4550
(1) red; (2) yellow; (3) green; (4) cyan; (5) blue; (6) magenta;
*----------*--------------*---------------*--------------*
* form * as-object * as-property * as-process *
*----------*--------------*---------------*--------------*
| red | redness | redish | redize |
| yellow | yellowness | yellowish | yellowize |
| green | greenness | greenish | greenize |
| cyan | cyanness | cyanish | cyanize |
| blue | blueness | blueish | blueize |
| magenta | magentaness | magentish | magentize |
*----------*--------------*---------------*--------------|
(1) perfect unison; (2) minor second; (3) major second; (4) minor third; (5) major third; (6) perfect fourth; (7) augmented fourth; (8) diminished fifth; (9) perfect fifth; (10) minor sixth; (11) major sixth; (12) minor seventh; (13) major seventh; (14) perfect octave;
*-------------*-----------------*----------------*---------------*
* form * as-object * as-property * as-process *
*-------------*-----------------*----------------*---------------*
* unison | unisoness | unisonal | unisonize |
* minsec | minsecondness | minsecondal | minsecondize |
* majsec | majseconness | majsecondal | majsecondize |
* minthird | minthirdness | minthirdal | minthirdize |
* majthird | majthirdness | majthirdal | majthirdize |
* perfourth | perfourthness | perfourthal | perfourthize |
* augfourth | augfourthness | augfourthal | augfourthize |
* dimfifth | dimfifthness | dimfifthal | dimfifthize |
* perfifth | perfifthness | perfifthal | perfifthize |
* minsixth | minsixthness | minsixthal | minsizthize |
* minseventh | minseventhness | minseventhal | minseventhize |
* majseventh | majseventhness | majseventhnal | majseventhize |
* octave | octaveness | octaval | octavize |
*---------------------------------------------------------------*
(Lexico-Phonemic harmony) feature geometry??? nonlinear phonology, suprasegmental phonology, ...
tiers
- Word tier (WORD: "birthday");
- Foot tier (FOOT);
- Syllable tier (STRONG vs WEAK);
- Onset-rime tier (consonant+vowel vs vowel+consonant) (with coda vs without a coda);
- Skeletal tier;
- Segmental tier;
front-back opponency low-high opponency vowel-consonant opponency voiced-unvoiced opponency opponent processing phonology manner of articulation vs place of articulation place: Labial (Bilabial Labiodental Linguolabial), Coronal, Dorsal, Laryngeal
-
vowels
-
consonants
-
voiced
-
unvoiced
-
bilabial
-
labiodental
-
dental
-
alveolar
-
postalveolar
-
retrofelx
-
palatal
-
velar
-
uvular
-
pharyngeal
-
glottal
-
plosive
-
nasal
-
trill
-
tap/flap
-
fricative
-
lateral fricative
-
approximant
-
lateral approximant
-
front
-
central back
-
close
-
close-mid
-
open-mid
-
open
IPA (https://en.wikipedia.org/wiki/International_Phonetic_Alphabet_chart#/media/File:IPA_chart_2020.svg)
syllable: (consonant, vowel) | (vowel, consonant) | (cononant, vowel consonant) | ...
consonants: (voiced, unvoiced) × (bilabial, labiodental, dental, alveolar, postalveolar, retrofelx, palatal, velar, uvular, pharyngeal, glottal) × (plosive, nasal, trill, tap/flap, fricative, lateral fricative, approximant, lateral approximant)
vowels: (front, central back) × (close close-mid, open-mid, open)
- SVG: https://www.svgrepo.com
- 3D shape vectors || https://www.svgrepo.com/collection/line-3d-shape-vectors/
- https://www.svgrepo.com/collection/shapes-5/
- https://www.svgrepo.com/collection/shapes-6/
?principle of layering and natural (aboriginal) environmental grounding?
- ascii identifier
- aspect projection
- object vs attribute duality?
- larger diagrammatic embedding (e.g. Caley tables)?
polyhedra, color harmony, music harmony, word harmony
"tetra cards"
*--------------------*
| f | t |
| o | o |
| r | n |
| m | e |
*----------*---------|
| h | w |
| u | o |
| e | r |
| | d |
*----------|---------*
"triple cards"?
________________________________
/\ \ / \ /
/ \ \ h / \ t /
/ \ \ u / \ o /
/ f \ \ e / \ n /
/ o \ \ / \ e /
/ r \ \ / \ /
/ m \ \ / \ /
/--------------\ \----------------/
/ \ / \ \ f /
/ \ / \ \ o /
/ t \ / h \ \ r /
/ o \ / u \ \ m /
/ n \ / e \ \ /
/ e \ / \ \ /
/ \/ \ \ /
------------------------------⠀⠀⠀⠀⠀⠀⠀ \/
"double cards"?
/\
/ \
/ \
/ form \
/ \
----------
\ hue /
\ /
\ /
\ /
\/
"monocards"?
*_________*
| |
| h |
| u |
| e |
*_________*
/e.g./
> ASPECTUAL_PROJECTION: tetracard(tetrahedra-red-m2-/b/) > COLOR_PROPERTY => RED
/see/ https://asciidiagrams.github.io/ also https://www.asciiart.eu/art-and-design/geometries
-
find free (open-enough copyright) SVG (if at the very least for a model example vector images): ** first renderset is for tetra cards ** a. [ ] platonic solids b. [ ] color symbol-glyphs c. [ ] musical interval glyphs d. [ ] phoneme (word, wtf is grammatology) script characters
-
design an XML or similar spec via some (E)BNF-like Data Definition Language (in XML a DTD)
-
research icon fonts and the question of whether unicode-assignments and TeX-like keyboard-UI macros for quick entry
-
brainstorm usage cases (like rending Caley Diagrams etc)
https://en.wikipedia.org/wiki/Cayley_table
mathematical metaphor speak ("abuse of notation") e.g. color-quality ratio, color-quality proportion, color-quality analogy
🟩/🟪
🟩 = [ ]🟪
🟩 : 🟪 :: 🟦 : 🟨
/inductive means?/ 🟩, 🟩->🟪, 🟩->🟪->🟩, … -> 🟥
a₁, a₁+ a₂, a₁+ a₂+ a₃, …, b₁, b₁+ b₂, b₁+ b₂+ b₃ …
* a b c d e f
+------------
a| a b c d e f
b| b a d c f e
c| c e a f b d
d| d f b e a c
e| e c f a d b
f| f d e b c a
🟥 🟩 🟦 🟨 🟧 🟪 ⬛ ⬜ 🟫
A Phenomenological "Erlangen Program"? (symmetry: invariance & change)
🟩->🟪->🟦 (invariant shape + transformation of color)
🟩->🟢->💚 (invariant color + transformation of shape)
- LaTeX Comprehensive Symbol List: https://tug.ctan.org/info/symbols/comprehensive/symbols-a4.pdf
- LuaTeX (fontspec)
- LuaTeX homepage: https://www.luatex.org || wiki: https://wiki.luatex.org/index.php/Main_Page
- A Guide to LuaTeX: https://mirror.las.iastate.edu/tex-archive/obsolete/info/luatex/lualatex-doc/lualatex-doc.pdf
- LuaTeX reference manual: https://mirrors.ibiblio.org/CTAN/systems/doc/luatex/luatex.pdf
- LaTeX fontspec manual: https://mirror.ox.ac.uk/sites/ctan.org/macros/unicodetex/latex/fontspec/fontspec.pdf
- OverLeaf: https://www.overleaf.com/
- Fontforge: https://fontforge.org
- Design with Fontforge: http://designwithfontforge.com/
- Metafont: https://en.wikipedia.org/wiki/Metafont
Yannis Haralambous. Fonts & Encodings (2007) Ken Lunde. CJKV Information Processing: Chinese, Japanese, Korean, and Vietnamese Computing 2nd Edition
- Writing Systems: https://en.wikipedia.org/wiki/Writing_system
- Florian Coulmas. The Writing Systems of the World (1989, 1991)
- Peter T. Daniels, William Bright. The World's Writing Systems (1996)
- Young-Key Kim-Renaud. The Korean Alphabet: Its History and Structure (1997)
The topic of Hangul's featural script and its syllable-block design is curious here because it if we wish to make tetracards (and maybe threecards, etc.) then we micht wish wish to embed this as a character on a computer text interface. Of course the original design here is to use LaTeX (LuaTeX?) but exploring textfiles is a possibility.
-
Hangul/featural (in particular morpho-syllabic blocks): https://en.wikipedia.org/wiki/Hangul
-
Hangul consonant and vowel tables: https://en.wikipedia.org/wiki/Hangul_consonant_and_vowel_tables
-
Korean Language Writing Practice Book - Learn to Write Korean Hangul Correctly (2020)
-
Korean Hangul for Beginners.
https://www.tuttlepublishing.com/korean-hangul-for-beginners -
Hangeul Master: Learn to read and write in Korean (2022)
??? https://en.wikipedia.org/wiki/Braille (grounding in touch!) https://en.wikipedia.org/wiki/Sign_language (grounding in gesture!)
gesture grounding?
- def. "Gestion" (Gesture Motion)
- def. "Gestureform" ("Letterspace")
- def. "Letterform" of a "Letterspace"
- def. "Letterspace trajectory"
- 3D gestural dynamics;
- static 3D gesture forms;
- shadow projections i.e. 2D letterform sets that correspond to (2);
We can imagine a text-interface in which the mark (cursor) is placed over a point in a text interface. Here the mark should be interpreted as being "over" the following character. In this state the user might use something like the arrow keys to navigate the perspective relation space (2D letterspace) of that 3D gestureform.
- (Tetra) Video clip & photographic images (not canonical but variant across writers and 'readers') of both the objects and sign-vehicle productions (gestures, phomenic gestures) That is writer-intended (write validation) and reader-interpretation validated mappings of photos to codes. For example photographs of inner-mouth phonetic gesture.
- (Hexa) Vectorized cartoon of images of these paradigms.
- (Octa) Miniture Logographic (Heiroglyphic-like) representations of both world and gesture, phonemic gesture.
- (Icosa) Consonant/Vowel Alphabet
- (Dodeca) Featural Alphabet
Every gesture & alphabetic script character should mirror the Heiroglyphic iconism. In teaching counting and adding in early child mathematics children are often taught a standard placement of dots over the letterforms that aid in adding by counting. With all elemental letters we might design these dots to cohere with the general constraints such that the letterform encode a diagrammatic cartoon of parts-wholes as the image of an archetype. In short this is a fractal conceptualization that brings another dimension of reading to a text but one that might be thought of a discerete dynamical system that what might recur through based on each letterform.
But in order to do this might we employ a graph or order theoretic lattice (e.g. Formal Concept Analysis) and if a graph what would the topology mean when one dot is next to another etc? In FCA what is represented is a whole context by means of a lattice with the contexts all-objects upper bound and all-attributes lower bound. This is quite powerful but as a fractal it would constrain the zoomspace to the natural context . If we employ a lattice we are over-constrained and will not be able to diagrammatically depict a large-enough gamut of iconic constellations. A possible compromise might be that we could employ graph coloring of edges but at current this issue is not clear.
So this concept is akin to a rebus where every letterform is itself a mnemonic-assoc icon.
"What the world was to Adam on the day he opened his eyes to it, before he had drawn any distinctions, or had become conscious of his own existence - that is first, present, immediate, fresh, new, initiative, original, spontaneous, free, vivid, conscious, and evanescent. Only, remember that every description of it must be false to it." - Charles Sanders Peirce [ref]
open anahata!
