Global connectivity as reinforced through symbolic configuration?

Reimagining Coronavirus in 3D as a Metaphor of Global Society in Distress (Part #13)

Comprehension of order: This argument could be reframed by the question as to where the perception of patterns of order can be understood as "coming from". Mention was made of the study by George Lakoff and Rafael Nuñez (Where Mathematics Comes From: how the embodied mind brings mathematics into being, 2001). The question is central to the study Jeremy Lent (The Patterning Instinct: a cultural history of man's search for meaning, 2017), as critically reviewed (Patterning Intuition with the Fifth Discipline, 2019).

Subsequent to his work on pattern language, the question was explored otherwise in a 4-volume study by Christopher Alexander (The Nature of Order: An Essay on the Art of Building and the Nature of the Universe, 2003-2004). This framed conclusions on New Concepts in Complexity Theory (2003) and on 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). These evoked a review of the implications, as separately discussed (Harmony-Comprehension and Wholeness-Engendering: eliciting psychosocial transformational principles from design, 2010).

Especially intriguing is the widespread use of circular symbols as integrative of the integration of governance which is proving so elusive, whether at the global or local levels. Thus the UN and its agencies, as well as other international bodies -- governmental and nongovernmental -- have recourse to logos in 2D based on the circle. It could be asked, however naively, how global integration is to be imagined and reinforced through a 2D symbol when it is readily comprehensible that a symbol in 3D (at least) would be more appropriate. The disconnect between 2D imagination and 3D is arguably at the root of the disconnect between a Flat Earth (local) view of the world and one which acknowledges its (global) 3-dimensionality (Irresponsible Dependence on a Flat Earth Mentality -- in response to global governance challenges, 2008).

Can the coronavirus indeed be fruitfully understood as a symbol? However, beyond any notion of a symbol as a "conceptual bauble", how is it to be understood as cognitively embodied -- whether collectively or individually? The irony of that question is that as a virus, now in a mode of pandemic propagation, it is indeed "embodied" physically by individuals and society.

Understood otherwise, as argued here, the question is how is it embodied cognitively and how might that question be most appropriately framed? One pointer is offered by George Lakoff and Mark Johnson (Philosophy In The Flesh: the embodied mind and its challenge to Western thought, 1999). Johnson has explored the possibilities dynamically, namely as embodied in movement (The Meaning of the Body: Aesthetics of Human Understanding, 2007), as with Maxine Sheets-Johnstone (The Primacy of Movement, 1999), as discussed separately (Reintegration of a Remaindered World: cognitive recycling of objects of systemic neglect, 2011).

Crowning symbols of governance? With respect to the symbolism of governance, at least locally and nationally -- as well as from an imperial perspective -- it is intriguing to note the importance traditionally attached to the sceptre, orb, and crown. It is less than clear, in the language of today, to which cognitive and operational functions of governance these correspond.

Nevertheless, and intriguingly, widespread use is made of the sceptre or mace as an indication of authority (Embodying the essence of governance in ritual dynamics with mace, sceptre, fasces or vajra? 2019). A crown continues to be used in monarchies and by some religious hierarchies -- although variants are clearly valued in crowning the champions of sport and other disciplines.

The value of the orb, which might otherwise be understood to correspond most closely to any sense of globe, is less obvious -- other than through papal declarations on solemn occasions (Urbi et Orbi). Suspiciously however, it is useful to explore how each of these symbols has been effectively weaponised, with the orb then to be recognized as a bomb -- a weapon of mass destruction?

Corona in religious iconography: One embodiment of the corona is widely evident in depictions of a halo (nimbus or aureole) around the head of a person deemed holy, namely a crown of light rays, circle or disk of light. This recognition may be extended into the sense of an aura -- a human energy field -- more probably described in terms of charisma.

New acknowledgement of such a phenomenon is evident in the increasing recognition of the reality distortion field of certain leaders and entrepreneurs. Similarly unrepresented (except sarcastically) as a halo, this may be more conventionally articulated as charisma or presence. Much diluted variants are evident in recognition and cultivation of "image" and "look". Understood quite otherwise, for many the personal experience of a corona might be in terms of existential confusion, panic and secrecy.

Democratic implications of "corona"? It could be recognized as both ironic (especially at this time) and symbolic in its own right that what is considered the most famous judicial oration, On the Crown, was delivered by the prominent Athenian statesman and orator Demosthenes in 330 BC. His remarkable rhetorical skill has been the focus of admiration down the centuries, and continues to be the subject of commentary and analysis. Recognized as one of the most splendid political pleas ever written, it is upheld as one of the finest achievements of Greek prose. The speech made an immediate impression on contemporary Greeks and for centuries served the writers and speakers of antiquity as the primary model of forceful argument and vigorous style (Harvey Yunis, Demosthenes: De Corona, 2001; Thomas Leland's comments and translation of the oration On the Crown).

Of relevance to this argument, having been presented in the final days of liberty in classical Greece, as noted by George Cawkwell (The Crowning of Demosthenes, The Classical World, 19, 1969, 1):

In the course of Demosthenes' lifetime, indeed within a mere decade, the whole balance of power in the Greek world was destroyed. By 338 the city states were completely overshadowed by the national state of Macedon, and it is the concern of all students of Demosthenes to analyse this dramatic change.... It is on the Athenian orators that we have to rely, the very men most concerned in the politics of Athens, in the act of glossing over and denying their own share in the disaster and of misrepresenting that of their opponents.

Of particular relevance to the current crisis of global governance is the capacity of rhetoric to organize persuasive argument appealing to a diverse audience. As noted by Cecil Wooten (The Nature of Form in Demosthenes' "de Corona", The Classical World, 72, 1979, 6)

One of the problems with which classical rhetorical theory does not deal in much detail is the question of the various ways in which an orator can hold a speech together. In a short speech, this is not usually a crucial problem since the parts of the model speech are a clear indication of where the speech is going. In a long speech, however, this informing principle is not sufficient by itself since the parts become too large to be manageable and are not always clearly recognizable by the audience.

It might be further argued that the most persuasive orators of today tend to be those with least to say, whereas those with most insight to contribute lack the skills with which to present their case effectively (whatever that may be held to mean). Wooten argues that the much-cited insights of Kenneth Burke into rhetorical form can be used to explain why the discourse of Demosthenes is so effective in giving coherence to the whole.

As clarified by Dave Rick (Burkeâ-'s Counter-Statement, The World's Last Mysteries, 10 February 2015), in Counter-Statement (1931/1968) Burke offers up an extensive discussion of artistic form, striking key distinctions between information and the form in which that information is produced. This focus on form recalls both the seminal approach of Christopher Alexander (Notes on the Synthesis of Form, 1964) and the case made for the United Nations University by Johan Galtung (Forms of Presentation: a forgotten aspect of social science epistemology, Goals, Processes and Indicators of Development, 1980). The latter gave rise to further consideration of the matter (Forms of Presentation and the Future of Comprehension, 1984).

Given the early focus of Demosthenes in the cradle of democracy, it is especially intriguing to note that "corona" came to be associated in imperial Rome with the "ring of onlookers" or bystanders around a debating arena -- as well as with the garland accorded to any champion:

Trials took place in the Forum in the open air and could easily attract the attention of the crowd; the ring of casual spectators (quaintly called the corona or "garland") was a regular feature of Roman trials, and advocates found it as important to gain their favour as much as to gain that of the jury (Jonathan Powell and Jeremy Paterson, Cicero the Advocate)

There is therefore a highly suggestive association between conventional understandings of crown and that engaging an observing population -- one which has seemingly not been explored, despite its significance for democracy and the disconnect of any democratic deficit. The etymology of corona does not include that fruitful early ambiguity. The commentary above on Cicero of Rome, with its multiple mentions of "corona", does however include reference to the De Corona of Demosthenes -- offering a degree of llinkage between the two understandings.

Does the neglected duality of the connotation of the crown -- so conventionally restricted otherwise to the highest authority -- emphasize the sense in which the extremes of the corona-as-crown and corona-as-encircling-onlookers is better understood in terms of a field effect -- of which a "reality distortion field" offers one insight? As concentric rings, the two even recall the insights of Nikola Tesla regarding the power of rotating electromagnetic fields.

Pentadic analysis: The desirable engagement of any ring of auditors -- the audience -- is an explicit focus of Kenneth Burke, although seemingly unrelated (except by implication) to the theme of On the Crown by Demosthenes, however much it was a feature of the latter's skill (as implied by Cecil Wooten). Burke's insight merits consideration in relation to the variety of figures of speech which enable that engagement (Questionable Classification of Figures of Speech -- as fundamental to the need for powerful rhetoric in governance, 2016).

For Rick:

In defining form, Burke writes, Form is the creation of an appetite in the mind of the auditor, and the adequate satisfying of that appetite (31). He further argues that form orients to the experience of the audience, not the subject (32). Thus, he defines â-"e;artistic felicityâ-" as the correct use of form upon the audience, and eloquence is when the form used elevates the information conveyed (37)....

Burke offers the definition that Form in literature is an arousing and fulfillment of desires (124). He then divides form into five aspects, including syllogistic and qualitative progression, repetitive form, conventional forms, and minor or incidental forms (124). Syllogistic progression refers to progression directly along a logical form, such that A to E entails steps B, C, and D (124). Qualitative progression is more subtle, where a quality present makes another quality â-"e;appropriately followâ-" (125). Repetitive form is the consistent maintaining of a principle under new guises (125). Conventional form is perhaps the most familiar, a staple of most genre expectations, and refers to â-"e;when a form appeals as formâ-" (126). As to minor or incidental forms, they encompass various literary and verbal devices (127). This breakdown of form offers a useful method to consider the ways that form manifests in narrative.

Later in his lexicon, Burke turns to discussing â-"e;patterns of experience,â-" which he breaks down into: universal experience, or those emotions and states of being that are common to human beings (149); modes of experience, or the circumstances that give rise to universal experiences (150); and patterns of experience, when modes of experience are repeated and give rise to symbols (152). Here Burke enters into a thorough discussion of the appeals of symbols, fitting very neatly into the â-"e;interestsâ-" presented in The Rhetoric of Fiction presented by Wayne Booth.

Burke's framework has resulted in various commentaries on pentadic analysis, notably as offering a means of transcending a number of binary discussions, thus providing interesting perspectives for research and education (e.g. as a reflection tool):

Jeroen Bourgonjon, et al: From Counter-Strike to Counter-Statement: using Burke's pentad as a tool for analysing video games (Digital Creativity, 22, 2011, 2)
Catherine Fox: Beyond the "Tyranny of the Real": Revisiting Burke's Pentad as Research Method for Professional Communication (Technical Communication Quarterly 11, 2002, 4)
Elizabeth A. Dickinson: The Montana Meth Project: Applying Burke's Dramatistic Pentad to a Persuasive Anti-drug Media Campaign (Communication Teacher, 23, 2009, 3)
Charles W. Kneupper: Dramatistic invention: the pentad as a heuristic procedure (Rhetoric Society Quarterly 9, 1979, 3)

The work of Burke is noted as responding to the developing insights of cybernetics (Jeff Pruchnic, Rhetoric, Cybernetics, and the Work of the Body in Burke's Body of Work, Rhetoric Review, 25, 2006, 3). Seemingly as yet to be explored are its later relevance to oppositional geometry and the associated logical implications in discourse (Oppositional Logic as Comprehensible Key to Sustainable Democracy: configuring patterns of anti-otherness, 2018).

Confluence of geometries: As noted above, there is some indication that the protein spikes on a coronavirus may average at 74. For the purpose of this speculative exercise this was assumed to be 72, given the traditional importance attached to patterns of coherence associated with that number. The relevance of such a focus derives from a variety of constraints on human comprehension and memorability, as discussed separately (Comprehension of Numbers Challenging Global Civilization, 2014). Further exploration is justified by the evident failure of conventional approaches to global organization of connectivity, as separately argued (Time for Provocative Mnemonic Aids to Systemic Connectivity? Possibilities of reconciling the "headless hearts" to the "heartless heads", 2018).

In this spirit there is a curious confluence between the considerations of sacred geometry and the orbital geometry of a constellation of satellites -- given the focus on the 72 orbital planes of the StarLink configuration (each with 22 satellites?). Religious connotations have been exploited through reference to "ANGELS" (David Shiga, ANGELS to watch over US air force satellites, New Scientist, 4 August 2006). The following was presented in an earlier discussion of Unexamined symbolic implications of disrupted star light? (2019)

A provocative checklist by Wikileaks on the number 72, offers 22 references to its relevance in religious and other frameworks including:

Number of names of God, according to Kabbalah; and their relation to the angels of the Shemhamphorasch
Current distribution of the Book of Revelation in 22 chapters (adopted since the 13th century); its the oldest known division being 72 chapters.
Number of degrees of Jacob's Ladder, according to the Zohar.
Number of disciples sent forth by Jesus in Luke 10; and the 72 disciples of Confucius who mastered his teachings.
Number of virgins (houris) awaiting martyrs in Heaven according to Islam
Enclosure of Osiris in a coffin by 72 evil disciples and accomplices of Set; and the number of demons sealed away by King Solomon with The Lesser Key of Solomon.
Number of stupas comprising Borobudur, the world's largest Buddhist temple; and the 72 major temples found at Angkor, seat of the ancient Khmer Empire.
Number of denominations doomed to Hell, according to the Hadith of Islam

Any such pattern of coherence lends itself to further speculative exploration (Engaging with Hyperreality through Demonique and Angelique? Mnemonic clues to global governance from mathematical theology and hyperbolic tessellation, 2016). The following was developed from an argument there regarding an experiment in Hyperbolic reframing of the Demonique and Angelique of tradition. This has the merit of reflecting the qualitative distinctions in a pattern of 72, whereas the global configurations of spikes above only do so in terms of their geometrical orientation around the sphere.

Indication in 2D of the dynamic nature of a "hyperdimensional" crown-corona
Alternative experimental configurations alternating between the 72 angels and demons

Animation of 8 sets of 9
(enlargements for detail: angels / demons) Animation of 9 sets of 8
(enlargements for detail: angels / demons)

The allocation of sets to the star "tables" in the above schematics is based on the tabular form in which the 72 angels and demons are typically presented. The rows are presented "around the tables" in one schematic, and the columns are presented "around the tables" in the other. The sequence around the tables is questionable, demanding further consideration.

Such patterns can be understood less controversially if the "demons" are recognized in terms of the protein spikes of a coronavirus -- and the "angels" as the set of proactive responses to them -- possibly as a global set of values or strategies. The dynamic in 2D, is then suggestive of how any integrative crown is necessarily to be understood as other than in the statically as favoured by convention (Implication of Toroidal Transformation of the Crown of Thorns: design challenge to enable integrative comprehension of global dynamics, 2011). As potentially to be understood in 3D, the following animations are indicative, reproduced from Modifying the cyclic symmetry of the star torus (2019).

Illustrative use of geometry of star torus for mapping purposes
(use browser facilities to enlarge animations and labelling)

5-fold 8-fold 12-fold 16-fold

Animations generated with Stella Polyhedron Navigator

The above experiments were evoked by the preoccupation with 16(+1) Sustainable Development Goals of the United Nations. Why 16(+1), especially given the lack of indications both as to how these are interrelated in systemic terms and how the wider world -- the "corona" (?) -- is to be expected to comprehend them as the memorable keys to global governance at this time? The question can be articulated in other terms (Interplay of Sustainable Development Goals through Rubik Cube Variations: engaging otherwise with what people find meaningful, 2017).

As with the spiked global forms depicted above from many domains, of particular interest is why the number of spikes of very different orders has emerged through evolutionary processes. What parameters define the adequacy in a given case -- the inadequacy of a lower number and the unnecessary dependence on any higher number? Why 74 in the case of the coronavirus, if that is indeed the case? Why do the Sustainable Development Goals not number 72, for example -- as discussed more generally (Patterns of N-foldness: comparison of integrated multi-set concept schemes as forms of presentation, 1980)?

A quite distinctive key to such memorability, and the associated sense of global coherence, is suggested by music, as argued separately (A Singable Earth Charter, EU Constitution or Global Ethic? 2006). Any further exploration of patterns in terms of meaning in the light of such configurations would benefit from consideration of the work of musicologist Ernest McClain (The Myth of Invariance: the origins of the gods, mathematics and music from the Rg Veda to Plato, 1978; Meditations Through the Quran: tonal images in an oral culture, 1981).

Despite the complexity of a 72-fold pattern, McClain's approach to musicality (through the simplicity of multiple exponents of prime numbers) offers one clarification of the mnemonic power of such a 72-fold configuration as 2³x 3² -- and with 360 degrees as 2³ x 3²x 5.

Especially intriguing is the possibility that new forms of relationship may be found between complex metaphorical patterns, such as those of the I Ching and the Kama Sutra. The discovery of fullerenes ("bucky balls") as a new form of carbon, based on the spherical configuration of 60 carbon atoms, is indicative of such possibility, as separately discussed (Understanding Sustainable Dialogue: the Secret within Bucky's Ball? 1996).

The configuration below (left) of the 64 hexagrams of the I Ching by József Drasny in his Yi-globe is suggestive in this respect, as argued separately (Triangulation of Incommensurable Concepts for Global Configuration, 2011; In Quest of a Dynamic Pattern of Transformations, 2012). In contrast with the 72-fold pattern of 8 x 9, this is a pattern of 8 x 8, namely 2⁶. That on the right (below) is derived from a separate discussion (Symbolizing Collective Remembering Otherwise: encompassing the "headless hearts" and "heartless heads" through their dynamic entanglement, 2018).

How is the coherence of the 8 x 8 pattern, so esteemed by Chinese culture, to be compared with that of 8 x 9, or one of 9 x 9, as explored by Chinese culture (9-fold Magic Square Pattern of Tao Te Ching Insights -- experimentally associated with the 81 insights of the T'ai HsÃüan Ching, 2006)? In contrast with any geometrical configuration, irrespective of its conformity to sacred geometry, the traditional 64-fold, 72-fold and 81-fold patterns distinguish the systemic function of their elements in some detail enabling a degree of engagement which is far from evident in other cases.

A potential potential exception is offered by the periodic table (D. H. Rouvray and R. Bruce King, The Mathematics of the Periodic Table, 2005; Wilmer Leal and Guillermo Restrepo, Formal Structure of Periodic System of Elements, Max-Planck-Institut für Mathematikin den Naturwissenschaften, 2019). The latter generalizes the periodic system as a set endowed with a system of similarity classes, whose elements hold an order relation; this structure corresponds to an ordered hypergraph, where similarity classes are hyperedges. The insight can be crudely explored in relation to traditional patterns (Hypergraph Experiment with I Ching, 2006).

Selected images of the Yi-globe of József Drasny

Animation of single and complementary Lissajous curves on horn torus

Reproduced with permission from JÃózsef Drasny
(The Image of the Cosmos in the I Ching: the Yi-globe, 2007) Animation on left reproduced, with permission, from Wolfgang Daeumler (Horn Torus);
that on the right is a simplistic adaptation thereof

These images point to the possibility of a correspondence between the spherical organization of conditions of change and the more familiar understanding of how the Earth, as a globe, is exposed to light and darkness

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