Ripheus23

The action-theory of the economies

So, I was working on the model of the cosmos for the story and was semi-accidentally straddling the divide between a multiverse and a multiplane, or even a multiplanar multiverse. I hedged my bets by coding the universes and the planes as economies and deminomies, but the model clearly required 3 or more universes besides the number I'd already assigned to the plot, which struck a wrong chord with me. To revise this situation, I now stipulate the following: the 24-multiverse does not contain only 3-dimensional universes. Instead of the three 24-dimensional universes being in a separate plane, I now am having it that 3 of the 24 universes themselves are 24-dimensional. Well, actually, I have it that 5 of them are (I'll get into the reason for this in a little while) but so the point is, 4 are always 24-dimensional and 1 of them is constantly changing. I.e. two each of the finite and infinite universes (8 per type total) are 24-dimensional, and the 5th 24-dimensional universe is a different one of each of the indefinite universes at a given time. That is, those universes are constantly fluctuating between 5- and 24-dimensional space, regardless of whether they know it.

So, then, the physics of the system is that all the objective graphs of moral information theory constitute dynamical objects in empirical (phenomenal) space. Because we get a 5-dimensional graph at the end of the basic series, it's presumed that the physical cosmos is 5-dimensional as such. But in principle, there is an n-dimensional set of hyperfractal graphs in deontic logic, so when the "computer of the multiverse" traces all the graphs, besides the 5-dimensional objects that it puts in the 24 universes, it also puts an infinite-dimensional object in its own demi-universe/demiplane/deminomy. For further reasons, there's an aleph.24-dimensional object in deminomic space, so besides the antiplane of Apollyon, we have 2 "higher planes of existence."

However, the technical metaphysics of the story allow us to redefine these 3 demiplanes as deminomies proper. The trick is to assert that the economies are action-theoretic sets.

The Trinity creates the world, as the Test,* by "asking questions" which require an objective world in order for their answers to be given forth. I.e. the Trinity assigns a deontic algebra or aretaic calculus to a simultaneously created universe. Since it is only agents inside these universes that can solve the "algebra problems" of God given to their world, each phenomenal set is "closed off" transcendentally from the others, if not rendered impenetrable. Now the 5-dimensional graph is the outcome of the basic series, which is a set of deontic graphs that correspond to logical operators/constants in moral information theory. But these are all sets that we have living experience with; by contrast, the n-dimensional fractal series (referred to as the Lachesis aleph-forest) is a graph of arbitrarily more complex possible sets of deontic operators, concepts without content. Accordingly, the aleph-forest does not have any particular moral word-problems posed inside of itself as such, and therefore forms not a full economy but only a deminomy (the demiplane of Apollyon, then, is better rendered as the antinomy of Apollyon). It is traversable but invariant (except in relation to the keying dynamic).

*[Since the Trinity is the Game, the Joke, and the Test, a common saying is, "The problems on the Test are based on games where each move is telling or getting a joke, or jokes about games and those who play them."]

Now it is possible to (sort of) explain the actual programming of the system using the aleph-numbers. The aleph-forest corresponds to aleph-zero. In the aleph.24-dimensional deminomy, the power of the numbers aleph.1 through aleph.24 are accessible for keying (with the seleplex artifexium). However, the design of the artifexium only allows 23 of the 24 to be keyed to higher aleph-numbers. So the artifexium gives us 23 aleph-numbers to program with, in addition to those from aleph.1 through aleph.24, minus aleph.19 (this causes a phenomenon known as the aleph-rift, in which all aleph.19-like numbers* are inaccessible).

*[In addition to aleph.0, aleph.1, aleph.2, etc., there are aleph.(aleph.0), aleph.(aleph.1), aleph.(aleph.2), and so on. So, there's an {aleph. ... (aleph.19)}, in an infinite staircase against the surrounding manifold of the aleph-staircase. None of these numbers can be among those keyed for by the other elements of the Key-set.]

The chaotic hypoplex gives as an always-changing set of keyed aleph-numbers, with one element. This structure comes from the isocrystal arrays, since these channel the energy that keys aleph-zero to other arbitrarily higher aleph-numbers. So let's say that gives us something like aleph.x.

Now, I don't want just the staircase aleph-numbers to be in use, so the artifexium deminomy* doesn't just key aleph.1 to, say, aleph. ... (aleph.1762) or so on. Rather, there are many other levels of levels of aleph-numbers, I believe, and in this transfinite ocean many of the keyed-for aleph-numbers are to be located. However, I haven't come up with any specific examples so far. IDK enough about "Mahlo cardinals," for instance, to know whether they would be a good candidate for the plot (aesthetically or logically), here. But just suppose that some of those kinds of aleph-numbers are involved.

*[This one is aleph.24-dimensional, on the assumption that there is enough of a thematic jump (from the 24 economies to aleph.24 itself) to allow for all the aleph-numbers higher than aleph.24, to make up the sea of the Keyscape.]

I don't know if the concept of a transet is valid, since I've kind of just made it up to have the endgame plot go through, but pursuing this concept's application further, let's say, then, that the square transet (for the forms of metafinity) can be keyed for by Apollyon, to the antithetic transet, because Apollyon's power of destruction crucially relies on a theorem in Trinitarian doctrine according to which a transcendental function known as romantic ideality causes essential energy to continuously flow into the physical substance of the world. Since romantic injustice is identified as one of the three final offenses (and thus "part of" the tri-fold Form of Evil), it is via romantic sin that Apollyon is able to block the flow of energy, thus eroding and dissolving the cosmos. (Basically, think of the Form of Destruction, as the Big Bad, using the Form of Evil, as another Big Bad, as itself a weapon.) Now, romantic ideality is constituted, in part, by a special relationship involving the square transet, namely it is possible for one person to be romantically keyed to another person in four different ways, namely the metafinite ones. (So, you'd only be in love with one of the four for a finite time, another you'd indefinitely be attracted to, a third you'd feel eternal heartbreak because of and a fourth, well...) So part of Apollyon's interaction with the romantic injustice of the Form of Evil, allows for the image of romantic love to be counterpointed to the "music" of the antithetic transet (the four Forms of Nothingness).

[The Form of Evil has the transet of sin for itself. This set's three elements can be variously keyed to one specific aleph-number, namely aleph. ... (aleph.19), where the number of "aleph" marks in the staircase is 26, for the 26 quasi-permutations of the final offenses. I.e. it alone (save for Apollyon in the end) accesses the power of the aleph-rift.]

Of course, it is NOT by trying to destroy the entire cosmos, that Apollyon brings about the ultimate apocalypse of transcreation, but by quasi-destroying the Form of Evil. So the erosion-of-substance problem is less a problem for the world of Ripheus than it is the IRL parallel to the spiritual effect of romantic injustice. That is, there is sin in the real world (our world) that = romantic injustice, and the spiritual ramifications of this sin being committed relate to a phenomenon of entropy and accelerated expansion of space in our physical universe.