1st DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS
AND AN INTRODUCTION


       2nd DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS


     3rd DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS


    4th - 7th DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS
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  8th - 16th DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS
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17th - 100th DIMENSION SANDBOX   E-MAIL ME YOUR IDEAS


 Infinite Concepts SANDBOX   E-MAIL ME YOUR IDEAS
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In 1964 Herbert Marcuse published a book called One-Dimensional Man,
devoted to social philosophy. After that, a number of thinkers set out to
find the meaning of dimensionalism, a discipline that had rarely been
defined as a discipline.

In fact, the movement pre-dated Marcuse's book. A manifesto had been
written in the early 20th C. by a Hungarian man named Tamko Sirato Karoly
called The Dimensionist Manifesto. It was signed by numerous figures in
the avant-garde art movements of that period.

Perhaps inspired by the popular drawings of M.C. Escher (late 19th C.), the
movement gained momentum based on the new theories of quantum
mechanics and relativity.

Books were generated showing figures which 'hyper-extended' in the
fourth dimension, which was now given the name 'Time'.

It was a natural extension of the earlier Renaissance discovery of
perspective space in which three dimensional figures could be drawn on a
two-dimensional surface.

The first dimension of course was primary. It was represented by the
so-called 'vanishing point' in perspective space, and in Nathan Coppedge's
much later philosophy, with the Mote analogous to something like a
Boolean operation on a specific form of truth-table.
A. THE 1-DIMENSIONAL VANISHING POINT:
Used to assist in defining 3-d space
B. THE 1-DIMENSIONAL MOTE: The central dot representing a kind of
Boolean operation, around which categories are arranged. The mote
represents collapsible space, a metaphor for form and formalism.
A. Representation. Symbolism

In the 2nd Dimension, development began with mere representation, and
expanded into realism, photo-realism, mathematical realism, and finally,
hyper-realism.

The related developments were the representation on a plane, the
depiction of real objects, the representation of objects realistically,
scientific accuracy (of natural entities or physical concepts, etc.), and finally
the development of higher-dimensional geometry, beginning with the
tesseract.

Strictly speaking, however, two dimensions exists in two senses, however.
The first sense is the sense of depicting whatever can be depicted in two
dimensions: representative or applicational 2nd-dimensionality. The second
sense is the strict mathematical sense of what can exist conceptually in a
single plane, in other words, forms of geometry and more complex figures.

For ease of parsing, the simple way to put it is to combine the two
definitions, and interpret any sort of figure as if it might exist in the
two-dimensional plane. In other words, the 2nd dimension involves 2-d
perspectivism. This is the type of language familiar to readers of the
popular children's novel Flatland.
B. Perspectival relation. Geometry.
C. Higher-dimensional representation. Information.

     The 3rd-Dimensional world is what we know as reality. It is the concrete
world. 3rd-Dimensional theories include constructivism, economics, and
even communism and dialectical materialism. They are all theories in which
something cannot exist permanently, and in which the highest manifestation
is the value of the object.

A. Concrete. Materialism.

B. Consumer design.

C. Competition. Markets.

In the 4th dimension the problem of time is overcome, much as in the 3rd
dimension the problem of perspective is overcome, and in the 2nd
dimension the problem of existence is overcome.

The 4th dimension and higher involves important adaptations to physical
paradigms involving time, adaptations that I consider to involve increased
aesthetic awareness, and increased role for fulfillment functions, both
subtly, and sometimes exponentially.

This involves the mathematical extension of the human senses as we know
them, and the embracing of something between virtual reality and what we
call materialism. However, the result is something more passionate than we
are accustomed to, and thus, it cannot be defined as fully virtual.

A. Time travel emerges in the 3.5 dimension and later.

B. Immortality is possible in the 4th dimension, whether or not the 4th
dimension is manifest. Thus, the simplest form of immortality is variablistic,
much like time.

Christianity predicts that God is infinite, as an explanation
for the infinity of the universe. This prediction is likely
borrowed from an earlier philosophy present in the
Upanishads (Hinduism).

In Nathan Coppedge's philosophy what we call infinity is
really possible in the 21st Dimension, as a by-product of
properties with quadruple-negative variables.

The difference may be a matter of the stringency of the
typological system, and the definition of what constitutes
infinity---whether it is something emotional or instead
mathematical.

However, it is clear that emotional infinity is not an
adequate definition, as emotions are widely declared to
have no definite spatial extensivity, or at least not
independent of the person having them, which might or
might not be limited to three dimensions, rather than
infinite (a big difference).

In recent philosophy, there has been a recourse to
mathematics in an attempt to explain emotions, calling
emotions a higher-dimensional form of mathematics. But, I
think this definition is inadequate, and we should simply
accept that more categories exist than mathematics, since
mathematics literally does not define qualities (or at least
not objectively).
A. GOD / MONISM / MONADOLOGY

C. "Nature is on fire with spirits" /

"One explanation is education"

"INCREASING COMPLEXITY AND ROLE FOR WHAT WE CURRENTLY CALL
ABSTRACTION"


     "FORMER CONCEPTS ARE NO MORE THAN A METAPHOR"

                     THE DIMENSIONAL SANDBOX Edited by Nathan Coppedge

This constituency of my
website serves the
purpose of expanding
concepts of physical and
metaphysical reality, qua
aesthetics, and qua logic.

We currently have
7 Major Levels
spanning infinite
dimensions,
And 14 Descriptions
of components.

Stop by any time to see
updates, or to browse
material you haven't seen.

NATHANCOPPEDGE.COM