by Kirby Urner

A system with two poles spins axially bringing its features around into view where the viewer is positioned outside the system and the view is of a convex spinning organization of topological features. A planet slowly turns below you. Only the term "below" indicates a gravitational orientation for your feet or, if you are comfortable "floating upside down in weightlessness" at least you still think of the planetary surface as "ground," like "I came from there." Viewers of the TV show Star Trek have had the advantage of frequently encountering strange new planets, some of them oddly sinister. The Starship Enterprise is clearly "home" and its orientation is hardly ever bottom side towards the planet center. The ship is parked "alongside" the planet which you see "out the side windows." These are non-trivial distinctions in the following sense: if CBS showed a NASA shuttle launch with the nose of the shuttle pointed sideways on the screen, with the take-off being a left-to-right or right-to-left departure from the Mother Ship, then many people would call the TV station and demand that the program point-of-view (PV) be righted. That our blast-off shots are shown with Earth at the screen bottom shows we are still making spaceships more "of Earth" than "of Space." Challenger belongs to the Earth. She goes up, and around and around, and she comes down. The TV will show astronauts "upside down" but the Earth is still far below. Or is it? Some kids watching are Star Trek fans (or Star Wars fanatics) and have no trouble "seeing as" in ways that are ET-like. ETPV. Earth from Space. No "up", no "down". Just "in towards center" and "away, in all directions, from center." And systems rotate "around."

Poles are frequently Opposites. We might almost say that Polar and Opposite completely coincide as concepts originally equal in meaning. And this brings us to the heart of synergetic-geometry, to the aconceptual VE nothing center of equanimity. Here is from whence polar opposites create experiential spinning which, in turn, gives rise to critical proximity sensations of "falling in," of reorientation of becoming "one with Universe" where "Universe" is always operative in some finite definite system produced from nothing by the very untenability of Unity of Opposites except as a dynamic radial source around which points of interest (event foci) gravitationally interassociate to give spherics with definite curvature, definite features - to give comprehensive SYSTEMs. So it would seem that the original pair of opposites operative in Synergetics, Gravitation and Radiation, converge to a common origin when either is produced to extremes.

We find this Unity of Polar Opposites manifest in the convergence-divergence Bow Tie model of Universe. Convergence gives way to divergence at a system limit. Divergence gives way to convergence at the other (polar) extreme. The switchover occurs when absolute emptiness "needs to become tolerable." The maxi-zero void contracts from extreme 20-ness "into the 20-ness of icosahedral somethingness" (1033.653). What just happened was: a 6-edge energy quantum (one tetra) was captured. It got "sucked in "by the pull of an aconceptual vacuum. The maxi-limit extreme divergent-to-convergent switchover is polar and is sudden crystallization as when a "seed crystal (one tetra)" is dropped into an already super-saturated solution of dissolved potential crystalate. Chemists can assign qualities to such an event. The divergent chemical solution is entropic and may be measured as heat. The sudden ordering of molecular crystalate into IVM equilibrious ordering is a POW Phoenix from the Ashes. A sudden chill. The hyperordered atmosphere of infinitely micro acuity. This is the absolute-zero phenomenon of cryogenics. If we reverse now to jump through in the convergent-to-divergent direction, then we can experience congruence with the systematic expressions of the switchover in Synergetics 1033.657:

As we approach absolute zero, taking all the energy out of the system, the chemical elements of which the apparatus parts consist each have unique atomic-frequency temperatures that are inherently different. This is evident to anyone who, within the same room temperature, has in swift succession touched glass, plastic, leather, or whatever it might be. Therefore, as in cryogenics we approach absolute zero (for the whole system's average temperature), the temperature of some of the elemental components of the experiment go through to the other side of zero, while others stay on this side - with the whole aggregate averaging just short of right on absolute zero. As a consequence of some components going through to the other side of zero, some of the most extraordinary things happen, such as liquids flowing in antigravity directions. This is the inside-out Universe.

Here, some of the crystal "system components" are backing into the Universe we Just left. They evaporate, get tuned-out, to merge back into the cosmic continuum of non-discrete macro nothingness, Finite Universe outside of any convergent in-facing system facets. All the in-facing mirrors convergently concentrating radiation back to the central focal point create a microcosmic extreme which discontinues life in that system. This is approximately the same experience of encountering the life-extinguishing coldly rational. The heartlessness of non-nuclear pure systems thinking ignites the flame in the heart that blasts the system to kingdom come. Some people say nature is cold and heartless. In myth, Superman visits his Ice Cave Fortress of Solitude. Here we have the birth in Unity of something in Blake, something deeply passionate yet attuned to the solitary expanses of industrial wastelands and anonymous trains bound for nameless destinations, something private and individual, democratic and friendly, yet vacant, stark, deserted. Something you find in America. Something Walt Whitman felt moved to celebrate. Here, the close ordering of Cities and the extra-human ordering of Jungle merge. African drum-beats. The Wild West. So OLD! Hopi chanting. Tibetan Bells. Polynesian Blues.

© 1984, 1988, 1997 Global Data

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