If the problem is that our local and predictable reality is becoming simultaneously local and predictable and global and unpredictable, we will need to learn how to navigate reality simultaneously as both deterministic (predictable) and unpredictable (indeterministic).
This requires that we access a set of skills we are all born with and already use all the time – unconsciously.
Before the global overflow we could rely on the sensory input of our bodies and our intuitive understanding of cause and effect when making short and long term predictions and implementing strategies of action accordingly.
When there is global overflow, reality becomes indeterminate and starts to behave as probability.
Since reality is fundamentally probabilistic (that which changes is not there) this is not new to us. Mastery of change as absence is a natural, innate and life-preserving instinct of all human beings.
What is new to us is that we have to activate and apply consciously our ability to navigate reality as “probabilities in probability” and subsequently how to find each other and communicate constructively in this state while maintaining a stable position in determinate reality as well.
I have tried to identify some preliminary points of entrance to the complex. I have also designed a basic set of instruments for learning and research (philosophical objects).
My attempts to define the problem and how to solve it is expressed by www.byebyespacetime.com in its totality.
You can see a gamified bootcamp for understanding, entering and living in reality as probability in the form of a card game here: slowmotion UNIVERSE.
Songwriting and electric guitar blues solos have been central tools of my reflective journey into and out of the universe and back again. A reduced catalogue of my songs in both Danish and English are included as methodical documentation.
If you want to help, I will be happy to get you started. Lectures, workshops and courses in spacetime mehcanics can be designed according to your context. Also, you can download all the written materials on the website for free. Note that some materials are in Danish only.
(This article contains an analysis of the consequences of globalization for the human cognition and an operational strategy for the handling of these)
The equation of change experience (X≠X) = (X=X) formalizes infinite unique probability-driven mixes of non-deterministic change and deterministic standstill as the DNA of all experience. The processing body must be inserted in the equation, concretely or as a virtual representation, for the equation to function according to intention.
Heide’s constant determines when it is necessary to apply the equation of change experience instead of classical mechanics as the basis of a mutually inclusive system of simultaneous measurement and calculation of deterministic local effects and indeterministic global effects entangled.
The constant states:
The equation of change experience replaces classical mechanics when the sum of all global effects of all local actions (B) is larger than the sum of all local effects of all local actions (A).
When the sum of all global effects of all local actions (B) is larger than the sum of all local effects of all local actions (A), the global effects of local actions (B) transforms the experience of deterministic local reality (A) into an experience of a global probability field with both deterministic properties and indeterministic properties disabling the interdependent and exclusively deterministically rooted functionalities of respectively classical mechanics and quantum mechanics. To sustain the objectively determined position of observation required to perform quantum mechanical calculations and measurements, the positioning system of the equation of change (see: map of the world as change) supersedes classical mechanics, hence preserving the functional application of quantum mechanics and our analytical and manipulative access to the fundamental dynamics and properties of nature when the domain of classical mechanics collapses into indeterminism.
Heide’s constant is also – as a kind greeting to the physics concepts and mathematical methods of the 20th century – called “Planck reversed”, because it is installed on a macroscopic threshold somewhat identical to the calculative threshold (as determined by Plank’s constant) between the quantum dynamical micro-universe (B1) and the pre-historic local reality (A1) in which the global effects of local actions (B) did not exceed the local effects of local actions (A).
Note that Heide’s constant, in a radicalized interpretation, can replace Planck’s constant completely, rendering both classical mechanics and quantum mechanics and their respective physical domains functionally superfluous and unify these domains into one universe subject exclusively to the method of measurement of the equation of change experience. This position is investigated thoroughly in “lærebog i rumtidsmekanik” (currently only published in Danish).
Summary: Imagine that any subjective individual human experience can be reduced to shifting mixes of fluidity and solidity, and that each of us have learned how to translate a specific temporarily locked mix of our individual experience into a position on a scale defined in its two extremes by the event horizons of respectively fluidity and solidity. If this was true and we all had access to a smart phone with an application simulating that scale and we all simultaneously plotted our individual positions on the scale in this app, then the picture of dots on the scale would be the most precise map of the world as change experience it is possible to produce. Learning how to plot our positions as mixes of fluidity and solidity on this scale and learning how to read and understand the combined plots of the scale as it fluctuates in time would be to discover the world as it really is and hence also the beginning of an era in which our understanding of ourselves and our context would be as close to reality as it can get. It would be the beginning of the era of correspondence and consequently also potentially an era of near infinite sustainability.
Conclusion: The questions we ask should be constructed in such a way, that the answers can always be interpreted as a mix of fluidity and solidity also. If human experience of change as density can be reduced to mixes of fluidity and solidity, these mixes are the closest we come to a DNA for the answers that should be the base for the structure of our questions. If the answer of a question can be translated into a mix of fluidity and solidity and hence placed accordingly on a scale defined in its extremes by the event horizons of fluidity and solidity, the question is a true (truth equals infinite sustainability) statement in itself and the answer a confirmation of the property of measurable macroscopic probability as a definition and map of human experience and as such of the world as change.
If you are using a smartphone, you must 1) open the link, 2) add the application to the homescreen of your phone as a direct link and 3) open the application from the direct link on your homescreen (in its horizontal position) to get the intended funtionality of the prototype.
Long term perspective: The equation of change experience is a periodic system with only two basic elements (properties), change (fluidity as property) and stasis (solidity as property), creating in mutually including conjunction all potential versions of reality in the form of experience.
If we learn to ask the questions enabling us to use map of the world as change to create blueprints or stamps corresponding with our experiences of reality, a reverse engineered version of map of the world as change might make it possible for us to to reset our individual or/and collective change experience to any position desired, hence opening up to “travelling” freely in the probability field of everyday life and as such, effectively bringing meaning and weight to the essence and punchline of the work presented on this website: bye-bye spacetime!
Important note to be read and then read again when you have familiarized yourself with slowmotion UNIVERSE:
To apply slowmotion Universe as a bootcamp for understanding, entering and living in reality as probability, try always to use the equation (Y – X = Z) when looking for tricks.
The Z-values (even numbers from 2 – 38) of your tricks represent your shifting positions on the infinite scale of the equation of change experience (map of the world as change). As such the Z-values visualize in ultra-extreme slowmotion how your reality (universe) is formed as a probability path.
And now: Let’s play!
A game package contains 250 cards:
1 card with general information
9 game rule- and probability field cards
240 playing cards.
To purchase games, get support or book workshops, please write to: firstname.lastname@example.org
Players must have minimum skills in subtraction (and/or addition of positive integers). The highest number is 39 and the highest possible result is 38. The lowest number is 1 and the lowest possible result is 2.
Number of players: 2+.
Playtime: 10+ minutes.
Shuffle cards thoroughly before each game and secure random horizontal and vertical positions so that all players, independent of position in relation to cards, experience equal readability of the cards. When shuffling, take into account, that high value Z-cards will have a statistically determined tendency to end in the bottom of the card stacks in a game.
Choose a dealer. The dealer places 16 cards (default amount – modify as you please) face up in a spacey square on a level surface. When playing in small groups, the dealer should participate. When playing in larger groups a designated dealer is an option.
Players identify and cash in tricks by saying ”trick” first. Tricks are placed face down. A trick is a combination of three cards meeting the following equations:
(Y – X = Z),
(Y – Z = X) and
(X + Z = Y).
When ever a trick is cashed in the dealer fills up the empty spots. If no tricks are available or visible to any of the players, 16 new cards are placed face up on top of the cards all ready on the level surface. The dealer can always decide to take this action. If the dealer runs out of cards, the open card-stacks on the level surface are collected, shuffled and re-used.
If a player falsely states ”trick”, the player’s latest trick must be re-entered into the dealers card stack.
The winner is the player with the most points when a player cashes in 10 tricks in total (default mode) as the first. Playing time can be reduced by minimizing the number of tricks required to end the game.
(Be aware 9 and 6 are not marked and must be identified by card type: 6 is an even number on a Z-card and that 9 is an uneven number on a X-card)
Points are given according to the following rules:
Z2…Z6, Z34…Z38 = 5 points,
Z8…Z12, Z28…Z32 = 3 points and
Z14…Z26 = 2 points.
Points given are multiplied according to the color-code mixes of the numbers on the face of the cards in a trick:
2 + 1 color x 1
3 colors x 2 and
1 color x 3.
Slowmotion UNIVERSE can be played on four different levels:
Level 1 (easy): Tricks. The winner is the first player to get 10 (or any other number of) tricks.
Level 2 (medium): Tricks and points: The winner is the first player to get 10 (or any other number of) tricks and the most points according to the point-value of Z-cards only.
Level 3 (advanced): Default play mode. As in the game rules starting on the top of the page. Note that the potential of point-value awareness increases with the number of cards on the table. Try experimenting with a 5 x 5 or 6 x 6 cards lay-out to make the point-system work its magic.
Solo Meditation Level: Play alone. Relax and enjoy identifying potentiality and controlling the speed of the temporary outcomes of the probability-field while simoultaneously expanding your consciousness according to the fundamental principle of your ability to experience as it unfolds in a tempo defined by you.
Probability level: Play to get as close as possible to predefined paths of probability mirroring specific or non-specific real-life events. Play against each other or together.
Slowmotion UNIVERSE is the gamified expression of the functionality of the probability-driven universe reduced to mixes of its two basic elements, change (X≠X)and standstill (X=X), slowed down to a near halt to meet the capacity of the human everyday mind:
Slowmotion UNIVERSE was created by Danish philosopher (BA), educational philosopher (MA) and philosophical toolmaker Thomas Heide as an attempted commonly accessible response to the question: How come we experience that which changes as if it is there? As such, the game summarizes and makes available to layman the conclusions of the philosopher’s creative metaphysical investigations and designs as presented on byebyespacetime.com.
The early game-designs that eventually lead to slowmotion UNIVERSE:
In default mode songwriting is the art of expression, of communication. But the process itself can also be understood as controlling and manipulating a limited number of variables (chords, rythm, melodi, application of voice and lyrics). In the latter sense songwriting becomes the philosphers bootcamp for wrestling with, formatting and creating passing structures/sculptures from the potentiality of probability. As such songwriting is both the confirmation of and an instrument of inquiry into the most fundamental aspects of nature.
You can listen to some of the the songs (in danish) the philosopher extracted from empty inifinity right here:
One of the breakthroughs in my cognitive development occurred shortly after I began playing electric guitar and more specifically electric guitar solos at the age of 44 as a intentional self motivating reaction to the intellectually, creatively and emotionally numbing experience of being a student of philosophy at Aarhus University.
While teaching myself how to play, I discovered that Mr. Jimi Hendrix had invented the defining borders of a new independent universe of language with his guitar playing, hence proving it possible to gain access to positions of observation outside the known universe as language and as such providing legitimacy to my experience of being outside of space-time in this sense (see “Spørg” for in depth analysis of the language philosophy of Mr. Jimi Hendrix).
The following is a series of tunes written, performed and recorded at home by me in 2010 as a part of my attempt to find my metaphysical logic using an electric guitar as vehicle.
As an appendix to the home studio recordings I have attached two tunes in which I experiment directly with expressing myself using electric guitar solos (2016) and a live band recording (2015).
Live recording with the philosophers band Trash Blues Philosophy