In the above diagram, the nature of light is examined from a semiotic
perspective. As with Piercian sign
and semiotics in general the theme of interpretation is deconstructed as it
pertains to meanings, interpreters, and objects. In this case the object or
sign is “Optics”. This would be the classical, macroscopic appearance of
light as beams or rays which can be focused and projected, Color wheels and
primary colors are among the tools we use to orient our own human
experience of vision with the universal nature of material illumination.
On the other side of bottom of the triangle is “Vision”. This is the
component which gives vision a visual quality. The arrows leading to and
from vision denote the incoming receptivity from optics and the outgoing
engagement toward “Light”. When we see, our awareness is informed from the
bottom up and the top down. Seeing rides on top of the low level
interactions of our cells, while looking is our way of projecting our will
as attention to the visual field.
While optics dictate measurable relationships among physical properties of
light on the macroscopic scale, ‘light’ is the hypothetical third partner
in the sensory triad. Light is both the microphysical functions of quantum
electrodynamics and the absolute frame of perceptual relativity from which
various perceptual inertial frames emerge. The span between light and
optics is marked by the polar graph and label “Image” to describe the role
of resemblance and relativity. Image is a fusion of the cosmological truth
of all that can be seen and illuminated (light), with the localization to a
particular inertial frame (optics-in-space), and recapitulation by a
particular interpreter – who is a time-feeler of private experience.
This triangle schema is not limited to light. Any sense can be used with
varying degrees of success:
The overall picture can be generalized as well:
Note that the afferent and efferent sided of the triangle have a push-pull
orientation, while the quanta side is an expanding graph. This is due to
the difference between participation within spacetime, which is proprietary
feeling, and the measured positions between participants on multiple scales
or frames of participation. Sense is the totality of experience from which
subjective extractions are derived. The physical mode describes the
relation between each subjective experience and between other frames of
subjective experience as representational tokens: bodies or forms. It’s all
a kind of trail of breadcrumbs which lead back to the source, which is
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