Interestingness, suggestiveness, memorability and presentation

The-O Ring and The Bull Ring as Spectacular Archetypes (Part #6)

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As a form of presentation, a key question with respect to the "theo" modalities is whether their presentation together meets requirements of interestingness and memorability -- irrespective of the challenge they may independently face (as noted above). What might ensure that their configuration was not "boring"?

Interestingness: The "mappings" above are one approach to the issue. "Interest" is clearly a driving force, as argued separately (Investing Attention Essential to Viable Growth: radical self-reflexive reappropriation of financial skills and insights, 2014). As noted there, although experientially obvious, the nature of the interest-generating dynamic may elude conventional description. How is a potential investor "turned on"? The possibility has been speculative explored separately (Global Governance via a Double-breasted Strange Attractor: cognitive implication in a dynamic sexual metaphor, 2009). Potentially highly relevant is the nature of the boredom-generating dynamic which triggers "turning off" and disinvestment (Lars Svendsen and John Irons, A Philosophy of Boredom, 2005). Taken together, the two dynamics are significant in defining direction of movement in cyberspace (and the noosphere).

That earlier discussion noted a degree of focus on the unusual term "interestingness", most notably as highlighted with respect to the preoccupations of advertisers and the focus on artificial intelligence by Douglas Lenat. Strangely the term now figures in a US patent application (Interestingness Ranking of Media Objects). With respect to an early paper, now a sociology cult classic, by Murray S. Davis (That's Interesting: towards a phenomenology of sociology and a sociology of phenomenology, Philosophy of Social Sciences, 1971), Oliver Burkeman (This column will change your life: interestingness v truth, The Guardian, 5 April 2014) notes:

What is it, Davis asks, that makes certain thinkers - Marx, Freud, Nietzsche - legendary? It has long been thought that a theorist is considered great because his theories are true, he writes, but this is false. A theorist is considered great, not because his theories are true, but because they are interesting. Even in the world of academia, most people aren't motivated by the truth. What they want, above all, is not to be bored. ...We live in the Era of Interestingness: attention is money, and purveyors of the interesting can make millions from Twitter feeds of amazing facts - even if they're not always true facts - or from books or blogs offering intriguingly counterintuitive perspectives... Moreover, Davis argues, there are only a handful of main ways for an idea to be interesting. To grab people's attention, you should argue that something we think of as bad is good, or vice versa; that some apparently individual phenomenon is really collective; that several seemingly disparate things are actually part of the same thing; and a few others....

In his paper, Davis included The Index of the Interesting. The question of relevance here is what would make a configuration of "theo" modalities interesting -- rather than a trigger for boredom? Irrespective of their relative interest individually -- itself questionable globally -- how might their interestingness together be enhanced and rendered sustainable? The question is especially relevant to the extent that the various modalities reinforce challenges of governance relating to sustainability -- including the issue of whether appropriate governance is viable as currently understood (Ungovernability of Sustainable Global Democracy ? Towards engaging appropriately with time, 2011).

Interesting patterns: One possible exercise, following the above mappings, is to consider more generally how a pattern of four modalities might be configured to enhance the interestingness of the resulting pattern of connectivity. Initially the possibility could be considered from a formal perspective in the light of representations of distinctions made in set theory, most notably through Venn diagrams and Borromean rings. Use of configurations of Borromean rings follows from the discussion above regarding the interlocking great circles engendering a tetrahedron. The contrasting schematics raise the issue as to whether meaning is then to be "carried" within the areas created by the rings, or through the rings (dynamically around them). As noted above, the latter perspective is addressed by Ron Atkin (Multidimensional Man: can man live in three dimensions? 1981). Are the "theo" processes to be considered space-related or time-related?

Borromean rings (3-loops)	Venn diagram (reproduced from Wikipedia)	Borromean rings (5-loops)

The dynamic around three rings is explored as the époché by Francisco Varela -- adapting Husserl's concept (Rachel Zahn. Francisco Varela and The Gesture of Awareness: a new direction in cognitive science and its relevance to the Alexander Technique. 2005). This involves stopping the flow of habitual thoughts and belief structures long enough to perceive the phenomena of the present moment through a three step formula for becoming consciously aware: suspension, redirection, and letting go -- as illustrated by the following schematic (on the left) with its own formal equivalences of potential significance.

Varela's argument is especially valuable in giving focus to the future in the moment, as may be variously explored (Present Moment Research: exploration of nowness, 2001; Now as the Ultimate Cognitive Strange Attractor: a continuing invitation "down the rabbit hole"? 2014)

Phenomenological epoché (Varela)	Traditional Celtic knot pattern	Roerich Pax Cultura

Relationships between sets: One useful development of the argument is through the symbolic language of sets (or algebra of sets) as may be partially explicated by Venn diagrams. The alternatives are usually presented using two overlapping circles, possibly placed within a framing (contextual) rectangle. In the following images, the two overlapping circles are set within a third (contextual) circle.

Of interest is whether the visual possibilities -- as indications of connectivity -- then exhaust those required by the formalism of the language of sets. To the standard explications (in each case in the following table) are added possible ways of interpreting the relationships between "theo" modalities -- each "theo" being considered as a set in its own right.

Symbolic language of sets (preliminary) describing relationships between sets A and B (inner circles) and universal set U (outer circle) NB: when A and B do not overlap, they would be termed disjoint sets -- as is common with the "theos" in practice
set union (A union B) A ? B everything that is in either A or B	(A union B) - (A instersect B) everything in A or B, but not in both	(A intersect B) A n B only what is in both sets A and B	relative complement of A in B AC n B everything in A, except for anything in B (difference of two sets)
theology ? theosophy? theory ? theorem? theo-science ? theo-belief?		theology n theosophy? theory n theorem? theo-sciencen theo-belief?	theology - theosophy? theory - theorem? theo-science - theo-belief?
not (A union B) ¬ (A ? B) everything outside A and B		not (A intersect B) ¬ (A n B) everything outside of overlap between A and B	absolute complement of A in U AC
not (theology ? theosophy)? not (theory ? theorem)? not (theo-science ? theo-belief)?		not (theology n theosophy)? not (theory n theorem)? not (theo-science n theo-belief)?

Also of potential interest: an empty set (namely one with no elements), and a universal set (everything). This language could be used to indicate what is variously included or excluded from the perspective of any of the "theos", or any combination of them. Most intriguing is what they collectively include (if anything), and what they collectively exclude.

The use of three circles might be considered adequate for the discussion of possible relationships between three "theos". It is clearly problematic to represent a fourth within that convention -- other than by implying its total inclusion (or exclusion) by an other. This would then reflect a condition under which one was subsumed by another.

Interweaving "theo" modalities in patterns: Beyond the conventional depictions of set relationships through Venn diagrams, the argument can be taken further through the following experiments in relating four or more domains -- with the implication of their being bound together by a "Theo-O ring" (as argued above).

Configurations of 5 rings in 2 dimensions
4 theos "packed within" an O-ring (recalling seed pod configurations)	4 theos "threaded on" an O-ring (recalling prayer bead circlets)	4 theos overlapping (recalling the Venn format)
3 theos overlapping (framed by a fourth)	3 theos overlapping (a fourth set within)	2 theos overlapping within a third (a fourth set within)

Given the earlier 3D image of a tetrahedral closest-packing of 4 spheres, each indicative of a particular "theo", the images above might be reviewed as a 2D plan view of some such configuration. Each might also be considered as a view by refraction through a form of lens (constituted by one "theo") of the others.

Suggestiveness and memorability through the vesica piscis / vagina / vulva: The image on the lower far right is in fact that of the famed vesica piscis (or mandorla) -- but embedded within a circle and with a circle embedded within its central portion. The vesica piscis is a shape that is the intersection of two circles with the same radius, intersecting in such a way that the center of each circle lies on the perimeter of the other. The form is held to be of considerable significance in various mystical traditions (associated with two of the "theos"). Numerous available images are indicative of the associated speculation. The form is also of mathematical and architectural interest.

Perhaps appropriately, considerable controversy (as with that regarding the Wikipedia entry) is associated with traditional (and recent) specific references to the resemblance between the form of the vesica piscis, the vagina and the vulva. The resemblance (through either term, however inappropriate anatomically) is variously upheld as indicative of the fundamental role of that organ in procreation and in the origin of human life. The existence of these cross-cultural inferences, the symbolism, and the controversy, are however indications of "interestingness" -- as well as "suggestiveness" and "memorability" -- as required by any more fruitful configuration of the "four theos".

Exploiting the Venn diagram style above, the possibility of alternative weightings to the elements of that image can be considered, as with the outer images below. Those options can be combined dynamically with 6 other variants, as suggested by the animation in the central image below.

Vesica piscis -- Pattern A	Animation between 8 patterns	Vesica piscis -- Pattern B

Is the relationship between the four "theos" best understood dynamically? Can it only be adequately comprehended in these terms? Is the meaning to be derived from them dependent primarily on the alternation between the cognitive functions -- recalling the requirements for the locomotion of any quadriped?

Embedding a circle, within the classical form as depicted, could be understood as reconciling controversy regarding "vulva vs. vagina" -- with the added advantage of emphasizing the cognitively mysterious role of a "hole", as mentioned above with respect to discussion by Roberto Casati (1994). Irrespective of the controversy, the geometrical form -- as a focus of speculation and fantasy -- is clearly an idealization of the anatomical form. As embodied in female anatomy, given the unquestionable attraction of the form and its associated dynamic (to the male-dominated theo-mentality), it clearly constitutes a suggestive "spectacle" for memorable "play" (the theme of a later section).

There is a curious irony to the traditional associations to the form as engendering mystical veneration. Seemingly distinct from the veneration in which the vulva may be held, the prefix "venera" derives from the Latin venereus (from vener-, venus love, sexual desire) -- hence its significance in relation to sexual indulgence and venereal disease (contracted as a result of sexual intercourse). A further irony is offered by Venera, the Russian series of "space probes" to gather data from Venus (between 1961 and 1984) -- Venera being the Russian name for Venus, the Roman goddess of love, namesake of the planet. It is of course phonetically amusing that "Venn" diagrams contribute to clarifying the matter.

Dimensions and dynamics: The argument above implies a degree of progression in dimensionality and consequently a challenge to representation and comprehensibility. From a mathematical perspective these are not especially significant. Although the point is well-illustrated by representation of 4 sets as a Venn diagram, the constraints are usefully discussed by Tony Phillips (Topology of Venn Diagrams, AMS, June 2005). Experimental 5-set, 6-set and 7-set Venn diagram representations are available. Although "interesting", they are not of immediate interest to this argument -- because of the challenge of memorability and suggestiveness. Possibilities in 3D, as discussed by Phillips, are similarly less immediately useful.

The point to be stressed is that the issue here is not one of Venn diagrams per se, rather it is how to benefit from these patterns of significance in order to enhance memorability and suggestiveness. These would appear to depend partly on centro-symmetrical configuration in 2D as explored in the tables above. Clearly these depart from Venn diagram conventions when a fourth circle is introduced centrally (as above). However the logic of the introduction of such additional frames of significance can be better understood if the "dimension" they represent is understood in terms of time -- hence the value of an animation in which the significance of the "dimension" is carried by the dynamic. The significance of the vesica piscis is then notably associated with the implied dynamic in intercourse -- whether physical or metaphorical -- as a "fourth dimensional experience" with a very particular focus.

The tabular representation of the conventional language of sets (above) -- framed in each case by a circular "universe" -- also merits consideration as a set of patterns. This raises the question as to how many patterns can be fruitfully recognized and represented by such means -- as embodiments of the formal mathematical notation. Which cannot? Could that set of patterns then be fruitfully formed into a periodic table of some kind? From a mathematical perspective this recalls the extensive literature on tilings and tesselations, although here it is not a question of whether the patterns fit together (as in the tiling problem), but rather whether, considered independently, they "fit" into a periodic table.

Somewhat relevant to the possibility is a related problem with respect to polyhedra (Sándor Kabai, et al, Clusters Produced by Placing Rhombic Triacontahedra at the Vertices of Polyhedra, The Mathematica Journal, 2012). Would the emergence of "interestingness" then become apparent within the table? How would the suggestiveness of the vesica piscis emerge?

A notable possibility is that the visual patterns could be complemented by another semi-visual visual approach, namely the configuration of 8 trigrams and 64 hexagrams of the I Ching. These can be considered in relation to the archetypal morphologies of René Thom (Structural Stability and Morphogenesis, 1972). More provocative is whether both can be related to the topological configurations of the 64 sexual acts encoded by the Kama Sutra, as separately discussed (Reframing the Dynamics of Engaging with Otherness: triadic correspondences between Topology, Kama Sutra and I Ching, 2011). As discussed there, Thom' s illustrations are especially suggestive.

Locus of principal changes of topological type (reproduced from René Thom, Structural Stability and Morphogenesis, 1972)

1. curve with cusp pointing downward 2. appearance of new point at origin, where lip formation begins -- 3. this grows... . 4. pierces the cusp.. 5. and crosses it ...to form the phallic mushroom... characteristic of the parabolic umbilic... 6. the cusp meets the lower branch of the lip in a hyperbolic umbilic... 7. and then the two branches cross to form a curvilnear triangle piercing laterally a convex curve 8. the triangle shrinks, first touching the curve 9. and then shrinking inside it 10. to form a hypercycloid with three cusps, and finally vanishes in an elliptic umbilic.. 11. reappearing immediately with the same orientation 12. its lower cusp meets the curve 13. and pierces it 14. the curve and upper edge of the triangle touch in beak-to-beak singularity, which separates 15. producing two symmetric swallowtails, reabsorbed into the curve 16. leading to the original configuration

This is indicative of the possibility of a periodic table of "intercourse with otherness" -- with an emphasis on dynamics. Rendering time central to representation, through animation and its embodiment, may then be recognized as fruitful ( The Isdom of the Wisdom Society: embodying time as the heartland of humanity, 2003; Strategic Embodiment of Time: configuring questions fundamental to change, 2010). The graphic framed by each square in the schematic has been placed within a circular frame in a "sexy" animation at the end of this section.

Further questions: As a potentially suggestive animation, functioning as a motivating attractor, further questions could be considered:

• what does the dynamic imply for thinking about classical relational issues within individual "theos", most notably interdisciplinarity and interfaith -- and what might this imply for transdisciplinarity and transfaith understanding?
• granted any motivating suggestiveness with respect to the four "theos" together, to what does that motivation lead -- where do the "theos" go from here?
• given the circumsphere within which any tetrahedral configuration of "theos" is geometrically engendered, is it fruitful to consider this as analogous to a form of "matrix" in the uterine sense -- with the additional sense that the insphere (touching the sides of the tetrahedron) then offers a suggestive analogy to the ovum as the inspiration for the sexual dynamic?
• as the "goal" or "target" for the "theos", does engaging with the insphere have profound cognitive implication -- exemplified by a special sense of "now", the present moment in time? Is this cognitively consistent with the much-sought goal of sexual ecstasy (Margot Anand, The Art of Sexual Ecstasy, 1989)
• given the above-mentioned argument for variously informing the experiential with the symbolic, might the alternatives suggestively embodied in the above animation be well-encoded by the contrasting trigrams of the BaGua, and their dynamic relationships (Reframing the Dynamics of Engaging with Otherness: triadic correspondences between Topology, Kama Sutra and I Ching, 2011)?
• with respect to the creativity intimately associated with such intercourse, what might it be imagined that the "theos" could engender -- given the manner in which such creativity involves "pushing boundaries" and "pushing the envelope"?
• how might the phases of the above animation relate to the archetypal patterns identified in carpet design by Christopher Alexander (A Foreshadowing of 21st Century Art: the color and geometry of very early Turkish carpets, 1993; Harmony-Seeking Computations: a science of non-classical dynamics based on the progressive evolution of the larger whole, International Journal for Unconventional Computing (IJUC), 5, 2009).

The-O Ring and the psychoactive: Implicit in the above argument is an appreciation of the extent to which "The-O Ring" in its present form fails to be psychoactive to an increasing proportion of the population. Hence the quest for the psychoactive in other domains -- most obviously in drugs and various forms of gaming, and notably enabled by a variety of (interactive) media experiences.

It is clear that the psychoactive has much to do with imagination and its cultivation -- and how an imaginative experience can be sustained. The "theo" modalities are very constrained in their capacity to respond to such a demand. They may well be perceived as "dead" by those in quest of what is "alive". Any conventional "theo" denial of this could be framed by a question, as separately argued (Being neither Dead nor Alive : but how to know now? 2014). Intriguingly, the response might be framed dynamically, using an animation such as that above -- with its implications for the potential loss of attraction in any relationship, exemplified by experience of the sexually "dead".

Less provocatively, is psychoactivity to be usefully explored in terms of a sense of humour? Are the "theo" modalities -- with respect to their own methodology -- to be recognized as completely lacking in any sense of humour (however much they may claim to cultivate it "on the side")? The question is explored separately, notably with respect to religion and spiritual development and to philosophy (Recognized Role of Humour, 2005). In that respect are the "theo" modalities per se to be understood in terms of the Asperger Syndrome spectrum -- given the manner in which they are challenged by nonliteral language?

In the terms of Christopher Alexander, is there a case for imagining the design of psychoactive carpets (Magic Carpets as Psychoactive System Diagrams, 2010)? The case for imagination can of course be extended to governance (Imagining Attractive Global Governance: questioning possibilities and constraints of well-boundedness, 2013; Tentative adaptation of Alexander's 15 transformations to the psychosocial realm, 2010). With respect to the latter, should the "carpet" be understood as representing -- and interrelating -- a fundamental set of patterns, much as is done in experimental representations of the periodic table of chemical elements?

Distinguishing psychoactive design criteria: The argument could be usefully summarized by a table of the following kind, highlighting the enduring "focus" suggested by the bottom row -- perhaps exemplified by animation of the vesica piscis.

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