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One of the stories I'm working on apexes with a scenario that I'm not sure is coherent, or even if it were, that it would actually be so terrible to deal with. The idea is that the fabric of reality is warping due to a mistake during the construction of the magic-source (a hypermachine called the Keyscape), the mistake being an abstract one related to the mathematical programming of the system. To try to "fix" this mistake, a character named Vyrian Armirex awakens the incarnation of destruction, Apollyon, and commands Apollyon to transform the Form of Evil (as in the Platonic Form thereof) into the Form of Nonexistence. However, the dimension of the cosmos this takes place in, is the transcendent one, so we're talking not just destruction, but transdestruction. The climactic problem arises because Apollyon's sole desire is transdestruction, so It proceeds to destroy the Form of Nonexistence, which having merged with Evil has it so that all previously nonexistent evil is recreated with that Form---and then Apollyon continues to cycle the Forms of Evil and Nonexistence back and forth into and out of each other, so that all possible evil is "transcreated" at once.

Now purely in poetic terms, that sounds like the worst possible thing of all time. However, (a) I don't know if destroying/transdestroying Forms is an intelligible activity at all, much less if the Form of Destruction, which might be defined as the Form of Causing Nonexistence, is used on the Form of Nonexistence itself, and so on, and (b) even if there's some sense to be had, here, wouldn't the continuous cycling of these Forms put the immanent dimension in the same position, ethically/spiritually, that it was in already, i.e. if Evil is flickering into and out of being on the transcendent level, over and over, wouldn't that "look like" Evil just being an abstraction, still? The story scenario only works if for some reason the people in the immanent worlds have some concrete experience of the cycle that "makes a difference" to whether their world is in a concrete good or bad state.

EDIT: tl;dr joke: what if Nightblood is the final Cosmere villain :P?

Edited by Ripheus23
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How could there be a Platonic Form of a negative concept like Nonexistence? I mean, it would have to be the utter pinnacle of non-existence, such that every other type of non-being in our world is but a shadow of its complete, perfect nothingness. So wouldn't it just... not exist? Am I missing the point here? 


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No, you've gotten the point :P I'm superworried the scenario that I'm using as the endgame for this story, is an unintelligible scenario.

One suboption I'm bandying about in my mind turns on a variation on the above themes:

Morality/ethics/w/e is about priorities. Or, at least, those are one class of thing that this hath to do with. So, the way the philosopher Immanuel Kant puts it in Religion within the Limits of Reason Alone is that the fundamental moral choices we make, have to do with how we put certain concepts into positions of logical priority relative to each other. The example he uses (the only one, really, or: all there is to it, as he seems to say) has to do with the concepts of happiness and virtue, i.e. both involve reason, so reasonable beings have to intend them both, and the problem arises over whether we choose to make happiness depend on virtue, or virtue depend on happiness. (Kant thinks evil-in-itself is impossible, so evil is not choosing evil as such, but just choosing a warped order of reason over the natural one.)

I think this notion of priority-problems is much farther-ranging. Examples I've come up with include:

Creation - Destruction (being destructive to an extent seems necessary if entropy is everywhere and inevitable, but people sometimes use this fact as license to justify outright murder, for instance)

Necessity - Possibility (in technical modal logic, it's possible to define the □ and ◊ symbols/operators in either direction, but I think possibility is metaphysically prior to necessity)

Concept-of-good - Concept-of-evil (sometimes people seem to emphasize "Thou shalt not" over "Thou shalt," which is quite misguided in my eyes)

And then, for the sake of this Apollyon story of mine:

Essence - Existence

... which is a Sartrean question, after all.

Now, to turn the issue into a fantasy-scenario issue, my idea is to have Armirex command Apollyon to destroy/transdestroy the order of existence-over-essence. That is, to make the Form of Essence prior to the Form of Existence, which would negate all existence as we know it. OTOH, Apollyon doesn't seem like the kind of entity that Armirex would want to use to do this (the City of Destruction is not the City of Orders of Priority, after all), but for the aesthetics of the tale, having Apollyon be the final threat, somehow, is pretty much required (It looks like a city made of/set on fire, that is constantly attacking other cities; this is my image of the most-evil-looking-thing-ever). Also, the reason Armirex wants to alter the Form of Existence/Nonexistence/w/e, has to do with something known as the absolute-proof theorem, upon which the Anomalies arising from the Keyscape depend.

So, to take some steps sideways/backwards:

In the world in question, magic depends on morality. Hoid's power to "be wherever he needs to be"? A standard ability of magic-users, here. Actually, most magic-users, prior to an event known as the Last War (literally the last war fought in the multiverse), were beings known as Noumenal Artificers, who dwell in the transcendent realm. Armirex is one of these, who long ago betrayed the cosmos but later redeemed himself by allying with the other champions of the Last War to (A) silence Apollyon and (B) construct the Keyscape. The Keyscape was meant to take the rare power of the Artificers and make it accessible to the common folk of the multiverse, as it goes. However, since magic is morally explained, this meant that the creators of the Keyscape had to use advanced, convoluted moral theorizing to make the Keyscape work. The pivotal notion of the system has to do with the following subject/theory:


Nutshelled: Socrates claimed that people who know what is good, wouldn't do evil. That virtue is knowledge. Yet people do seem to act against their "better judgment." How? By having imperfect/non-absolute proof/judgment of what is good. So, if you knew (had a lot of strong evidence), but didn't have absolute proof, of what is good, you could still act "against your better judgment." (Davidson explains all this in terms of all-things-considered vs. all-out thought/judgment.)

So, Armirex and Co. programmed the Keyscape with a reliance on the absolute-proof theorem. However, they forget to program in an absolute proof of that very theorem itself, hence the Anomalies (the Keyscape misfires when trying to channel magic into people, causing warps in reality). Armirex, at the climax of the story, gets it in his head that if he can absolutely prove the Form of Evil to be equivalent to the Form of Nothingness/Nonexistence (the doctrine of the privation of being/goodness as in some Christian theology, for example), this will absolutely prove the absolute-proof theorem, sealing the rift in the essence of the Keyscape and stopping the Anomalies before they spiral out of control and devour the multiverse. Well, actually, he's been aware of the problem for twelve million years and has been working on a way to awaken Apollyon (not an easy task, given the method he and Co. used to put It to sleep in the first place) ever since the end of the Last War.

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As a non-philosophy major, I might need a little help wrapping my mind around this. Can you provide a little more context for this endgame? Maybe a summary of the story, and some more details on how the magic works?

The idea of the morality-based magic is very interesting, but I'm struggling to understand how it works. What determines where a person is "supposed" to be? Is it all subject to the person's own moral judgments? Or is there an external absolute morality (God?) pulling the strings?

And what does the Keyscape actually do? What does day-to-day magic look like, and how does the absolute-proof theorem play into it?


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The moral theory surrounding the absolute-proof theorem equates morality with promises to a very great extent, in the sense that the mental activity involved in making a promise is similar to the primordial energy of free will per se. So, in a way, those who can sufficiently commit themselves to doing something, can gain the power to go where they need to go to do that thing, or something along those lines. But promissory energy isn't in equilibrium when people are randomly using it, breaking their promises, etc. so there are some restrictions on what people can promise to do such that magic will emerge from the act. Magic acts as a recursive filter, you might say, on the morality of its own usage, which affects how it can be summoned at all, and so on.

Anyway, the overarching story is divided into several stages:

  1. The namesake protagonist, Ripheus, wanders through a strange sequence of mythical wars before discovering that he is actually inside Apollyon's mind. Ripheus "awakens" back into transcreation (a 24-universe multiverse, with 24 the number of universe because = to 4!, which is the number of sequences of 4-fold histories). Then he remembers that he voyaged into the demiplane of Apollyon to investigate the Anomalies, which are the distortions of reality (say laughter transforming into something that was able to eat people, or whatever).
  2. Meanwhile, an investigator in the multiverse at large tries to find out what is going on with the Septatheon, who are seven divine beings whose powers come from being personifications of different moral theories (e.g. Utility is utilitarianism incarnate), i.e. they are people who somehow have tapped into the Keyscape much more strongly than others do on average.
  3. Ripheus remembers that when he and Armirex and the others of the host of the Last War constructed the Keyscape, they sealed this act with the Erev Halaeon, the Promise of the Final Power. This was the use of the Keyscape to promise the multiverse that one day (the hour unknown to Ripheus and the others as such), a final, special power would grace all of existence by the light of the Keyscape. Until near the end of the story, when the advent of the Final Power takes place, what this magic is for is known only in the abstract, namely that it is an energy that can be "transecrated" (similar to "consecrated," as in one person can consecrate/transecrate their share in the Final Power to someone else, if they so elect to do so).
  4. Since Earth is a story in this world, eventually it is discovered that the story of the Bible (for example) is a symbol for the days of the Septatheon inasmuch as these are the seven heads of the demon-Beast. The prophecy of the Messiah descending when the tears of the world have been shed enough, is imputed as to its fulfillment to Ripheus, who comes to believe that he must suffer to an extreme degree in a unique way, in order to "dry up" one of the 24 universes, a realm called the Sea Alone (the idea is that his metaphorical tears will be "drops of the Sea"), and that this will somehow be relevant to the Anomalies. [I have no idea why specifically, yet, I just like the chain of images a lot.]
  5. Followers of a being known as the Precentor of Despite, look for a stone tower known as the Typhon or the Typhoaeus. They carry small bricks on their persons, which when broken apart channel the power of Apollyon from Its sleeping estate into the 24-fold cosmos. The Typhon is an entire tower made of these bricks, which are pieces of the image of Apollyon the City. (If the Precentor can shatter the entire tower at once, it might be able to incite a new war, thus overcoming the victory of the Last War, namely that it truly was the final such conflict in history.)
  6. There's also a university, in some universe, where there's a teacher of a class on preparation for the advent of the Final Power, who is trying to corrupt his students so that on the day of that advent, they use their final might for evil.
  7. Meanwhile, Armirex actually is tricking Ripheus without knowing it. The fact is that Apollyon is fused with the Form of Retribution, so that when a just man is punished, It feels his agony personally, wherefore when Ripheus allows himself to be tortured in order to drain the Sea Alone, yet instead his suffering resonates with the heart of the Destroyer and awakens the City of Destruction. Armirex believes that Ripheus is undergoing the ritual of torture in order to do this, though that is not so.
  8. There are also people who have come back from the dead, known as the Broken Ones, who have some odd relationship towards the eventuality of the Final Power, but how/why I haven't decided (or don't quite recall).
  9. After the Final Power finally arrives, Armirex draws Apollyon to the noumenal plane, to do battle with the Forms themselves. He can do this by transecrating his quantum of the Erev Halaeon unto the Destroyer (which of Itself is the one being who is not otherwise given a share in such power).
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Well, @Ripheus23, thank you for outlining that. This is quite a story you have here! Though I must admit that the synopsis didn't help my understanding as much as I thought it would. But bear with me; I'm trying. You say you're having a problem with your ending, so I'm trying to figure out why the book ends this way. There's a series of whys and hows that I'm struggling with. 

What is the difference between Ripheus and Armirex? What is each one's goal? And why? Are they working together? Are they at odds?

I get that Armirex wants to reawaken Appolyon so it can fix the Keyscape, but it sounds like it's Ripheus that does most of the work, draining the Sea Alone. But Ripheus didn't know about this plan, did he? You said he was only draining the Sea Alone to satisfy some biblical allusion. So did Armirex manipulate Ripheus into doing that? Did he create Earth (and all its scriptures) just to deceive Ripheus? Or is it all just a coincidence? Is this the Hoid-like magical luck?

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The background for the Last War has to do with a prior epoch of history during which the Noumenal Artificers ran a sort of "magical college" in the transcendent realm. Students at this college would enter into different parts of the 24-fold world in order to solve some crisis or another here or there as part of their "moral-magical education." The Artificers themselves always had magical power, e.g. being around them causes a feeling of synchronized deja vu until you leave their presence. (I still don't have an explanation for where the Artificers originally came from.) So anyway, during one crisis in one world, the students/affiliated Artificers created an epic story in order to inspire civilization to avoid starting a war involving two kinds of evil weapons, and the world of the story became Earth, a famous location for other tales, so there's a lot of "fan fiction" about Earth, in this setting. [The hyper-prequel would be one where on each page the words arranged to shapes, each shape being one "frame" in an animation you'd get by flipping through the entire book quickly. So there would be three levels of storyline: the demi-animation, the "real world," and the world of the epic story.] The figure of Ripheus was originally in the story, but because he "ought" to exist, he exists, without father or mother or whatever. That is, he became such a popular character that he was copied into the moral imagination of the cosmos, until reality itself commanded his existence in itself.

Now, at the time of the two-weapons war, Armirex had disappeared from the scene of history for a long time. There's a special test the Artificers have to take when they reach their stage of greatest power, of putting a four-fold category into correct order, and if they fail this, they become known as Fallen Artificers. There were seven total, including Armirex, and besides Armirex only one other Fallen Artificer survived (the other five killed themselves quickly). Armirex originally could magically cause pain as punishment for sin, and Damnite would torture people in order to cause other magic, so there was a sort of "harmony" between the two for a while, before Damnite accidentally died at his own magic's hands and Armirex went into "hiding." But then when Ripheus came into existence and heralded the days of the Last War, Armirex returned and redeemed himself by using his power to quiet Apollyon, a mysterious foe from the transcendental realm and instigator of many wars (as Apollyon would roam the multiverse, massacring thousands and thousands of thousands of cities, provoking different factions, pretending to align with some, and so on). But the Promise of the Final Power was sworn before the Destroyer's quiescence was accomplished, so Armirex left Ripheus and Co. after the decisive event and then disappeared again after reports came out that he had silenced Apollyon somehow.

The concept of the Sea Alone was not necessarily on Armirex's mind at the time he led Ripheus to the ritual of torture. The two men were widely separated for millions of years, and though an image of Armirex helped inspire Ripheus to "wake up" from the demiplane of Apollyon, the two didn't really connect up until the ritual. Armirex just assumed that he and Ripheus would prove to be on the same page, since Armirex judged highly of Ripheus and believed he would understand the alleged necessity of negating the Form of Evil. [The idea for the scene is for it to be one of those "the evil guy reveals his plan" twist scenes, only it's a twist for the evil guy too since he doesn't realize that the "good guy" has no idea what is going on.]

Also the Sea Alone is never really drained, or rather draining it does nothing to stop the Anomalies (though why, exactly, Ripheus thinks it would, I haven't thought up yet).

[The motives of Ripheus are pure-hearted in a special way, but I haven't fully explored how or why this is so. One aspect of the hyper-prequel was that all the actual characters in the story would be different shades of extremely good, so that the difference between the protagonists and antagonists would be quite subtle. So Ripheus would come off as miraculously virtuous, maybe, but my hope would be to complicate his moral psychology enough for the audience to perceive him as having something along the lines of a "character flaw," though how this would be so would be quite the exotic question...]

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Very interesting, and very ambitious. I guess the best advice I can give is to focus on the characters, especially Ripheus. The "exotic question" of humanizing him is probably the biggest obstacle facing this story. If readers are going to be invested in the book, they need a character they can feel for. Focus on Ripheus as a human being. I know he's some kind of ultra-moral heroic archetype come to life, but he can still function like a person. Give him desires and fears that conflict with his concrete goals. Figure out his emotional arc for the book, and where he needs to be at the end. That should tell you what kind of ending the story needs.

Perhaps this is the real problem with your big Form-changing climax: coherent or not, it's missing the main character. What do these events mean to Ripheus? How is he participating in them, and influencing the outcome?

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One subplot is supposed to involve people who are in the midst of John Rawls' "original position" situation. That is, they don't know what they look like (they're blurred in some such way), don't know if they're men or women, believers in this or that religion, etc. These people are in a weird land where they feel an urge to establish some kind of city-state, so they "act out" the process from A Theory of Justice. The purpose of this interlude is to set the stage for Ripheus discovering the cause of the Anomalies, in that the Septatheon have been intensifying these by using so much of the Keyscape's power, and Ripheus figures out that the "people in the original position" are by contrast trying to raise up Justice, in order to a sort of Octatheon, or a monotheism of Justice only (as the correct example of the moral theory encoded into the Keyscape), which would help bring the Keyscape into some equilibrium (until the final riddle is solved). Ripheus is, in a way, transfixed by the concept of justice as such.

So, the narrative motive of Ripheus is: he doesn't want the accomplishments of the Last War to be undone. As a matter of personal pride or kindness, he wants the ending of war and the vow of the Final Power to stand. Off and on he becomes concerned that events as they are unfolding might lead to the awakening of Apollyon, which is the only cataclysm he can imagine worse than a new universal war. His emotions upon reaching the transcendent city to confront Armirex are confusion (he doesn't know what Armirex is trying to do), dread, and a willingness to argue the case, and he is the one who tells Armirex what the cycle of transdestruction means when it takes place.

During the cycle (the last few chapters until the epilogue), other characters are supposed to have come to the eternal city, because Ripheus decides that the Final Power must be the only thing capable of interceding against the Destroyer's ultimate might, there and then, and so he calls representatives of the 24-fold world to the city, to argue them into agreeing with his own conclusion, to transecrate their share in the Final Power unto his cause. On the assumption that I might actually finish this story someday and that I don't want to suspend the readers' belief in advance,


... Ripheus argues that if everyone gives their share in the Final Power, to Apollyon (only Armirex has else done so at this point), they can cause Apollyon's cycle to automatically maximize to infinity, as in an infinite sequence of negations, and that if negation is turned on itself to infinity, it will cancel itself out and the cycle will end (double-negation elimination in logic, to an absolute degree). The people of the cosmos transecrate their magic, to the shield that Ripheus carries, because it is like the stones that the Precentor's servants used, a piece of Apollyon, in fact the heart of a mantle to the gate into the City of Destruction. So once fully charged, the shield is taken by Ripheus to the gate, where he drives it in like a key and begins to channel the Final Power of the entire world, into the anti-world light of the Destroyer, while Apollyon starts to argue in some way to try to inspire Ripheus to surrender, torturing Ripheus in the process, to get him to lessen his hold on the shield, to let it slide from the mantle of the gate. However, this does not work and the tide of the Final Power washes through Ripheus into the City of Destruction, transforming it into the City of Resurrection (resurrecting Apollyon from Its eternal undeath), but tearing Ripheus apart, physically, in the process.

Now, personally, Ripheus is very, very, very suicidal. It's on his mind a lot for some reason, not even necessarily out of guilt or despair or sacrificial necessity. It's not a demon influencing him, either, though, it's just how he thinks, with whatever consequences such thinking would have on average.

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The idea of the morality-based magic is very interesting, but I'm struggling to understand how it works.

I forgot I had a whole blob of ideas related to this. The first two steps include images from https://plato.stanford.edu/entries/logic-deontic/:

  1. deontic-hexagon2.jpg [A graph of ethical information]
  2. alethic-square.jpg [A graph of metaphysical information]
  3. "Ought" implies "can": ethical actuality determines physical possibility.
  4. Some physical possibilities require antecedent physical actualities.
  5. There is no absolutely empty physical space:

    If all reality in perception has a degree, between which and negation there is an endless sequence of ever smaller degrees, and if, nevertheless, every sense must have a determinate degree of receptivity for sensations; no perception, and consequently no experience is possible, which can prove, either immediately or mediately, an entire absence of all reality in a phenomenon; in other words, it is impossible ever to draw from experience a proof of the existence of empty space or of empty time. For in the first place, an entire absence of reality in a sensuous intuition cannot of course be an object of perception; secondly, such absence cannot be deduced from the contemplation of any single phenomenon, and the difference of the degrees in its reality; nor ought it ever to be admitted in explanation of any phenomenon. For if even the complete intuition of a determinate space or time is thoroughly real, that is, if no part thereof is empty, yet because every reality has its degree, which, with the extensive quantity of the phenomenon unchanged, can diminish through endless gradations down to nothing (the void), there must be infinitely graduated degrees, with which space or time is filled, and the intensive quantity in different phenomena may be smaller or greater, although the extensive quantity of the intuition remains equal and unaltered. [Immanuel Kant, Critique of Pure Reason, Transcendental Analytic Book 2, Chapter 2, sec. 3.2]

    Accordingly, the fundamental moral graph is repeated in physical space as an objective arrangement of matter/energy. This arrangement fills space by (i) circumscription, (ii) tessellation, and (iii) occupation.

  6. The simplest possible graph is the most true fundamental graph.

  7. The simplest graph of moral information is a triangle (not the above hexagon) [for the Trinity, assertions-prescriptions-questions, etc.].

  8. The simplest relevant 3-dimensional translation of this graph is a tetrahedron paired with a virtual octahedron.

  9. Tetrahedra do not tessellate space on their own but only with octahedra.

  10. Therefore, the fundamental rectilinear order of matter is the tetrahedral-octahedral manifold [citation for image: Wikipedia ["vertex-figure"]]: 500px-TetraOctaHoneycomb-VertexConfig.svg.png

  11. The simplest 3-dimensional curved enclosure is a sphere (i.e. the function for graphing a sphere is the simplest such function).

  12. The tetrahedral-octahedral manifold corresponds to the densest sphere-packing grid (for equal-sized spheres) [https://en.wikipedia.org/wiki/Close-packing_of_equal_spheres].

  13. The similarity and divergence of photons and vectrons (weak-force particles) is a result of the relations between the points of the fundamental tetrahedra.

  14. Gluons correspond to the points of the octahedra (as there are eight gluons). The occurrence of tetrahedra at other microscopic stages of material composition, and the "octet rule" in chemistry, refer back to this fundamental fact.

  15. Gravitons correspond to the spheres that correspond to the manifold of tessellation.

  16. Flux tubes between gluons are modeled by the tetrahelix [https://en.wikipedia.org/wiki/Boerdijk–Coxeter_helix]:


    The Boerdijk–Coxeter helix, named after H. S. M. Coxeter and A. H. Boerdijk, is a linear stacking of regular tetrahedra, arranged so that the edges of the complex that belong to only one tetrahedron form three intertwined helices. There are two chiral forms, with either clockwise or counterclockwise windings. Contrary to any other stacking of Platonic solids, the Boerdijk–Coxeter helix is not rotationally repetitive. Even in an infinite string of stacked tetrahedra, no two tetrahedra will have the same orientation. This is because the helical pitch per cell is not a rational fraction of the circle.

    The infinite, instantaneous transit and rotation of the tetrahelical interstices (between gluons) traces an infinite overlapping set of spheres that gravitationally solidifies the relations between gluons. (Imagine the helix moving sideways while spinning, such that the tips of the tetrahedra trace circles, such that an infinite number of circles at all angles are traced, thus producing the sphere-set.)

  17. Tetrons (tetrahedral/octahedral particles) and spherons (spherical particles) satisfy the parameters of enclosure (circumscription) and tessellation for the no-perfect-vacuum theorem. The occupation parameter is filled by a 3-dimensional fractal ("fills in" space to an infinite "zoom-in" degree). The occupation-particle (or "unparticle" [https://en.wikipedia.org/wiki/Unparticle_physics]) is the Higgs field (which provides interior density to possible fundamental mass).

  18. During the initial expansion of a universe, space increases from 0-dimensional to 3-dimensional over the interval t = 0-to-1 (for Planck times = t = 1) according to the sequence of graphs of moral information. Because these proceed to higher dimensions, but because these dimensions are not perceptible, the higher-level geometrical information encoded by this process gets "folded back down" into 3-space (reverse holography). Energy in transit across these hypervectors is called a "hyperloop."

  19. At t = 1, the vertex-figure for the tetrahedral-octahedral manifold is graphed in objective space. At successive times, the tessellation unfolds outward naturally. However, at each interval, the sphere-lattice is also graphed and superimposed over the rectilinear manifold. The gaps between spheres correspond to virtual vacuum-spaces that "suck at" the edges of the manifold through which they are superimposed. The result is the quantum curvature of space (alongside the tetrahelix dynamic).

  20. One of the hyperloop graphs involves four parameters, the categories of amendment (making up for sin). These are apologies, forgiveness, punishment, and redemption.

  21. Because free will and moral autonomy are axiomatic for the system, but because punishment is a possible correct response to sin, rational beings must put every category of amendment into an order of priority together. The two most correct orders are {R, A, F, P} and {R, F, A, P}.

  22. The transcendental city of grace and virtue [the parable of the Republic from Plato or "the kingdom of ends" in Kant---or Zion in Christianity] maps onto a song that also images grace and virtue (the song is equivalent, imagistically, to the city's skyline).

  23. The four categories of amendment can be keyed to four specific emotions (rage = punishment, joy = forgiveness, sadness = apologizing, love = redemption).

  24. The Song of the Order is the parabolic keying of the categories of amendment to the image of the transcendental city, and the process ("the Game") of changing the positions of categories (resetting the order of priority, if this has been mistakenly set to ~{R, A/F, P}).

  25. Each form of the chords in the Song of the Order corresponds to a possible transcendental economy (narrative world-history).

  26. There are 24 forms of these chords, for a 24-fold multiverse.

  27. The tetrahelical lines of force constituting the crystal of reality map to the possible chords in the Song of the Order (it is possible to affect the structure of a universe by interacting with the Song of the Order).

  28. [Full circle!] Ought-implies-can is the "bridge" for the power of the Noumenal Artificers and the Keyscape (as it is the same as the power to create objects by converting abstract possibility into concrete actuality, using concrete possibility at the start of the circuit).


EDIT: Additionally, supersymmetry can be mapped onto the structures that make up the vertex figure for the extessellation (outwards tessellation) of a universe. That is,

Quarks - antiquarks - squarks - antisquarks

Leptons - antileptons - sleptons - antisleptons


go with the 8 tetrahedra. Gluons, gluinos, photons, photinos, and vectrons/vectrinos map to the 6 octahedra. This is a form of "supersymmetry." [I'm not superpositive(!) that there are antisquarks and antisleptons, since I'm not too up on my fermion/boson/supersymmetry theory, but if there are supposed to be such things possible in the Standard system, here they are.]

EDIT 2: The distilled form of the system might be "two basic states of matter and three basic forces of energy." In a different story, this is "tetrons and spherons; arinkaioshalaeos, and vainikos," where the three latter categories are three trans-illocutionary forces, the physical substrate of assertions, questions, and prescriptions as mathematical-universal functions.

Edited by Ripheus23
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