Emile felt soothed by the warm flow and the hypnotic humming of the circulating pump, and it made him lazy, ... so lazy that he didn't bother to get up to urinate but simply directed the golden fountain back into the flow, and watched it mingle and join in with the mainstream currents of circulation. After some moments of reflective thought, with a cool and firm deliberation, he reached over and pressed the metal button to activate the drain. He smiled in noting the counter-clockwise emergence of the vortex, and thought of Coriolis, wondering whether Coriolis' insight on this vortical space-time warp had come to him through manipulating mathematical symbols, or from an actual sense of immersion in the twisting, turning 'etherial currents'.

Emile knew that Gustave de Coriolis, an eighteenth century math's prof at l'Ecole Polytechnique in Paris, had done more than discover the familiar 'Coriolis effect', a warping force emanating from space-time interference between rotating systems. While Coriolis maths explained the emergence of vortices in fluid systems, the effect was in no way easy to 'get your mind around', or rather, to let your mind be so warped as to experience the effect. Emile suspected that Coriolis had first felt the effect as a mind-warp, ... he suspected this because he knew that Coriolis had played billiards, a game which can suck one down and into an immersed space mode wherein one can perceive the 'reciprocal disposition' of things in a relational context with 'things' themselves. He imagined Coriolis playing billiards in a tavern on the banks of the Seine, consuming liberal quantities of le bon vin so as to lubricate his glissade into immersed-space perceptual mode, and once 'inside', using his phase-lock on this curious rotational acceleration to morph the ball configurations and so drain the last sou from the purse of his challenger. In any case, it seemed both strange and interesting to Emile that Coriolis had published his 'Théorie mathématique des effets du jeu de billiard' in 1835, the same year as his work on the Coriolis 'effect'.

In spite of the draining-down of his energies, Emile's thoughts continued to spiral onwards and upwards and they turned next to the ruins of Wittgenstein's cabin outside of Skjoelden, at the head of Lustrafjord in Norway. Emile's intuition had impelled him to rent a car and drive from Bergen to a meeting he had to attend in Trondheim, so that he could visit this site which had been so important and revitalizing to Wittgenstein. It had been a serendipitous choice as the mid-June weather blossomed into a luxuriously warm and sunny day, and he felt totally bathed in the perfume of blossoms and ripening fruit as he made his way along the north shore of Sognafjord towards Skjolden. He had fortuitously arrived at the ruins of the cabin precisely at midnight, after a twenty minute walk through the bush. The site was still bathed in the ample light of the 'white nights' of the northern latitudes, and as he sat in solitude on the old decking of the cabin, overlooking the serenity of the lake to the south and the head of the fjord beyond the town, it suddenly came to him why the Heraclitean notion of 'alles fliesst', ...that everything is in continual flux, had been so firmly embedded in both the content and geometry of Wittgenstein's thoughts and writings.

On either side of this narrow glaciated valley, the sheer faces of thousand foot cliffs rose vertically upwards to meet the blue, ... and from hidden, snowclad crestal hinterlands, the snowmelt poured forth in magnificent torrents which rushed over the cliff-edge to become skyborne in the abyss, ... cascading their watery loads in rude abandon onto rocky outcrops far below, and raising ghostly monuments of mist which caught and coloured the last of the fading northern light. As one looked southward and slightly upward, one's peripheral vision stereo-imaged the waters tumbling in over the rocky lips on either side of this deep and narrow cleft, giving the perspective of a passenger on the titanic watching the sea pour in through an overhead breach in the hull. But rather than signalling the depressing collapse of man's engineered attempt to top his own mother nature, the rising ridges of rock rose up like giant earth-limbs, kicking out into and teasing the sky to bring forth the living, thundering deluge which moistened the bush round Wittgenstein's co-littoral cabin-site and tickled it with deeply sonorous and ever-changing rumblings.

Emile had sensed what he knew Wittgenstein must also have sensed from this same holy ground, ... the circle-flow of life, ... waters running to fjords, thence to the sea and once again skyborne, .. lifted up to the heavens by wind and sun, .. and, ... having enjoyed the view, parachuting gently back to earth as a myriad of unique crystalline forms, each a captured memory of space-time skyplay at the moment of delivery of newborn structure from etherial essence, ..... simple molecular forms turning their back on single's status to re-emerge from cloud-chrysalis in the glittering new finery of harmonic collaboration. .... circles within circles, spheres within spheres and harmonies within harmonies.

Emile was now growing very tired, ... and feeling the onset of a deep sleep, he leaned back and was no longer present to witness the final phase of the drainage dynamic.

* * *

Elsewhere in space-time, the sorrowful sounds of children weeping stained the immersing ether in rose and blue, ... weeping and questioning, ... why? ... why?

The nurse was deeply empathetic and consoling. To the children, she made it seem a natural story like all natural stories, .. the circle of life, ... part of life, ... birth and rebirth, ... from flesh-making to soulmaking.

... Soon they would be mothers, these children, and then grandmothers, and in their wake, their love-giving would gather on the past like the glittering cloak of a newfallen snow, ... while their soul-making would issue forth as a tender, rising mist to rejoin the circular weave of ongoing life.

But there was a sadness in the air which she hoped would not infect these young ones and taint their spirit, ... the sadness of a deep dissonance which had to work its way through the space-time channels of their times. She and the two adults who had come with the children shared their own questions, ... why in this blessed land did so many go this way? How could it be that amongst males from teens to forties, ... more left by their own hand than by nature's course?

..... ... 'It was the chemo, I think, ... or perhaps the drugs. He somehow found a way to open the blood circulation storage vessel, and activated the bypass valve which drains the system. ... No, I have no idea why he contaminated his own ... .. it seems almost like a symbolic giving-the-finger to what we as a society are doing to ourselves, ... as the aboriginals said when we began to settle here, ... that .. "if we continued to contaminate our own bed, we would one night suffocate in our own waste."

The nurse thought of how she herself was beginning to tune to the melding of modern Gaian metaphor and aboriginal myth, ... that the shape of the mountains and the oceans that we look at, ... and the air that we breathe is, literally, the breath and the bones of our ancestors, ... that we breathe in our ancestors' and our own actions as we breathe out new action, ... and that the soulful things we do are an exhalation of the ancestral soul-breath we drew in to do so. It made much sense to her, ... it was not as if our environment and history were 'just there' and we parachuted in from some non-place, charged with the task of 'improving' things. The circle of life, as she was beginning to understand it, implied that nature, our ancestral legacies and ourselves, were all part of a co-evolving space-time continuum.

The room had turned very silent and reflective as the adults helped the teary-faced children with their coats and mittens, hugging them at intervals as they walked down the corridor to the hospital parking lot and into a very new and different future.

***

Emile felt hot, ... very hot, and was soaking in the sticky dampness of a profuse 'sweat'. ..... Where was he, ... where had he been?

As he opened his eyes, he was blinded by the intensity of the light, and cupped his hands quickly over his eyes. He could hear voices now, ... children's voices, happy and carefree banter in a deliciously melodious french. Shielding his eyes, he got up from his pullout bed, in the middle of his small apartment, and went to pull down the blind he had forgotten to pull down, in his boozy state, when he had finally hit the sack in the wee hours of the morning. ... He knew immediately that it was the Portugese brandies that had zonked him to the point of sleeping through till noon, ...they had tasted so good at the time, like a blend between a grappa taken in the hills of Rome and armagnac savoured on the ramparts of Carcasonne.

Emile paused before pulling the blind, mesmerized by the scene of children frollicking in the fresh sparkling snow, gleefully pushing each other into the drifts with great round smiles and rosy red cheeks. It was still below zero Celsius out there yet it was damn hot directly in the path of the sunlight which streamed across the room to stripe and saunatize his bed. From the geometry of his perceptions and through some weird association process, the Annie Lennox interpretion of 'there's a fine line between love and hate', came into his head, and since her 'medusa' was already loaded, he reached over and pressed the metal 'start' button on his CD player.

As he did, he for some reason began to picture the spinning disk inside the CD player, a swirling blur of silver morphing in his mind into a mercurial vortex which sucked hungrily on his perspective, until he had to deliberately shake off the imagery. What the hell kind of dreams had he been having last night, he wondered? Emile was definitely going to find out what kind of brandy that was, and buy a bottle, ... no, why not a case?

Still fully immersed and swimming in the colorful space-time dynamics of the enveloping morning, Emile filled the small saucepan with water and set it to boil for his morning coffee. He felt unusually happy and alive, and he knew he had something special to write, ... but what was it?

He headed for the keyboard and waited for the animation to flow into his fingers, ... he didn't have long to wait, ... soon his fingers began to tap away while he peered anxiously at the symbols emerging on the screen, struggling to keep words and thought in a co-evolving phase-lock, ........"There is a marked difference in perceiving reality as being 'centered out there', something apart from me, ... versus perceiving reality as being 'centered in here', something in which I am immersed. The relational space-time dynamic seen by the voyeur lacks the co-resonance felt in the immersed-space view. If I look at the water as it drains from my bathtub, I am not concerned with where it goes from there on, ... nor what the soapy detergents may do to the places and ecologies where the flow will take them. Nor do I have the sense that my act of opening the drain, ... the wormhole-conduit between local space-time and the space-time 'out there', is an act which will have reciprocal effect on my containing environment."

Emile paused, ... where was this coming from?.... this sense of the distinct difference between these two states of perception; one of detachment from the scene being viewed, like looking at the world on a movie screen or through a keyhole, ... the uninvolved gaze of the 'voyeur', ... and trying to explain things which were 'out there' as if one were not a part of them, as if one did not share the space-time destiny of the world he was living within. How curiously different this view was from the immersed view, in which the living scene which stood before you, related to you like a 'strange attractor' defined not by the things in it, but by the relative geometry between you and 'it', ... by some holographic force within the ether which 'co-produced' 'things' and their surroundings and which continually evolved both 'them' and the entire 'thing-and-space' configuration in which they were immersed constituents.

The geometry of the scene, in Emile's minds-eye, was not unlike the picture of multiple sperms invading an ovum and somehow becoming one with the new whole, being reborn into a new space-time whole-and-part harmony where the ghosts of the struggling sperm continued to animate the multiplying cell-constituents which pulled and pushed against the containing fluidity of their new mother-self even as they were being born and giving birth.

What was a human being anyhow? The material being was constantly changing, but what was responsible for that change? ... was it the 'know-how recorded in the organizational structure'... a 'know-how' which transcended the material structure in itself?, ... ....was it the 'dynamic equilibrium' they spoke about in the sciences of complexity? What the hell was a dynamic equilibrium made of? .... we know it keeps the material content in a coherent animation, but it, itself seemed a more enduring entity than the structural forms which it pulls into place, ... like the vortex which pulls flotsam into its own spiralling mouth in a fast-flowing river or like the turbulent exhalation of a smoker which spawns smoke rings.

Instinctively, Emile's fingers went looking for Kepler for answers, .... the inspired one who had first induced this notion of two perceptual modes to Emile. ... What indeed had changed the idea of those ancients who thought of three dimensional space in terms of concentric spheres within spheres, .... the vision of the heavens as celestial paintings or tapestries inside of a huge containing sphere, ... while this scene involved 'three dimensions', it was a flat, voyeur scene and didn't give the sense of immersion. Clearly the sense of three dimensional immersion was deeper and richer than the sense of three dimensional 'containment'. Three dimen .... Emile stopped in midstream, .... who said space had to be 'three dimensional'?, ... wasn't the notion of spatial volume more fundamental than this rectangular idea of 'three dimensions'? Emile smelled a rat, ... a center of cognition would seem to sense its own state of immersion in something, and that would be a volumetric sensation, but not necessarily a three dimensional volumetric sensation.

Emile understood what Kepler was talking about when he spoke about how one would feel if looking out from the center of the system, as if from the sun. It would be pure 'intuition' as Kepler said, informing you that the planets went around you as if swimming in some etherial fluid. No mention of 'three dimensions' here. ... The thought of snorkling in the Bahama's came into Emile's mind. On one occasion, in diving down to sightsee a patch reef ecology, an extremely vivacious and colorful little fish had wiggled herself right up in front of the glass on his facemask, bumping it repetitively with her nose, and then repeatedly swimming circles around the back of his head, returning each time to look at him and laugh and bump her nose into his facemask, ... her fishmind overtly declaring through her actions, 'god, what a strange fish thou art!'.

But Emile had felt something else going on in their little co-dynamic, ... something very meaningful, and it was that she was show-telling him that they were dancing with each other in a 'shared space-time', an 'immersed space-time' wherein whoever wiggled their fins or exhaled into the water would wiggle the other or change what they inhaled. And to KNOW that, to know that one was IMMERSED in a common space-time dynamic was a purely intuitive knowing. Emile couldn't see her when she swam around behind him, but he trusted that she was there, that immersed space-time went on continuously all around him, enveloping and immersing him, ... and they were both sharing it and it them, ... a complementary co-reciprocity of subject, object and containing environment. This was just as Kepler said it was, when he had used his 'archetype' of the system of sun and planets as a model for perception and intellection.

Now, if Emile wanted to 'prove' that he was in a shared space with his little friend, he would have to go through all that rationalist stuff they called 'description' and 'explanation'. But 'description', 'de scribere', is a view from the outside, even if it's from the inside, as in the case of the celestial tapestry, ... it's still from the outside, conceptually, ... it's still from the 'voyeur-like' view. In order to perceive things in terms of immersed space, you had to be looking as if from 'reciprocal disposition' space, .. as if you were 'representing' inter-thing flowspace or the ether, rather than being another 'thing' yourself. The semantical problem in 'explaining' immersed space was similar, in that an 'explanation' connotes taking one's observations and flattening them out, 'ex -planum', so how can you talk about the way it looks and feels to be immersed, via flattened out constructs? Clearly, when you changed perceptual modes and looked out as a voyeur towards a center 'out there', the implication was that you were yourself a 'thing', ... but if you looked out in 'immersed space' mode, you were looking out as if from the ether itself, ... from reciprocal disposition space.

Like Kepler had said, there was no way to rationally describe what it felt like to be immersed within the system, ... there was no rational way for the sun-observer to 'prove' that the planets were revolving around her in a shared space-time dynamic, ... in the same ether as her and in a space-time continuum where all dynamics were 'co-dynamics'; i.e. where you could not speak to the dynamics of the planets on their own because there was no absolute reference frame and thus you could only speak in terms of co-dynamics, ... co-resonance and co-evolution. That's why Kepler had suggested it was appropriate that the earth was not at the center of the system but in the middle, so that the observer could both look outwards from the center 'in here', as if from the sun, and experience the intuitive, 'immersed' feeling as well as look inwards towards the center 'out there', as if from Jupiter looking towards the sun, to experience the ratiocinative 'voyeur' mode of perception.

Emile recognized that when you went into this 'immersed mode of perception', you could feel the 'shared space' aspect, the 'co-' relations with everything, ... co-dynamics, co-resonance, co-evolution, co-destination, ... that's what Emile had felt when he saw the kids playing, .. as if he and they were immersed in the same space-time container, where they were co-participants in a shared reality, even though they were outside in the snow and he was in the interior warmth of his apartment. It was a happy and harmonious feeling, a warm feeling, and very unlike the cold voyeur mode of perception that his western acculturation was always trying to push into primacy in his mind.

Emile was convinced of it, ... there was no RATIONAL way to prove the existence of an 'immersed space' mode of thinking because rationalism was too limited a type of reasoning to do so. Einstein had pointed this out in his essay 'Geometry and Experience', in speaking to the issue of how to visualize curved space-time. He had said; "First of all, an observation of epistemological nature. A geometrical-physical theory as such is incapable of being directly pictured, being merely a system of concepts. But these concepts serve the purpose of bringing a multiplicity of real or imaginary sensory experiences into connection in the mind. To 'visualise' a theory, or bring it home to one's mind, therefore means to give a representation to that abundance of experiences for which the theory supplies the schematic arrangement. In the present case we have to ask ourselves how we can represent that relation of solid bodies with respect to their reciprocal disposition (contact) which corresponds to the theory of a finite universe. "

Emile knew full well that Einstein was talking 'pure geometry' and if this applied, it applied generally, and not just to the 'whole of space' but also to 'space as a whole'. Normally, we concerned ourselves only with the disposition of things, closed form 'things' or 'centers out there', and not simultaneously with their 'reciprocal disposition', the geometric shapes of the space between things, ... the 'negative space' of the artist or the 'rests between the notes' which make all the difference to the aesthetic of music.

Who said that we couldn't think first in terms of the space-time flow, the purely relational dynamics, ... thinking of 'things', not in the primacy but as being subordinate to the overwhelming energy latencies in the 'ether', the transparent, massless geometric substance which 'dynamic equilibrium' was made of, which balanced the forces of repulsion and attraction and kindled 'things' as a fire kindles flames.

Emile recalled that Einstein had continued to refer to the 'ether' after the Michelson Morley experiment had proven that there was no ether in the sense of a fluid which possessed the property of having mass. There was a missing terminology here, .... since words were like 'things', how did we talk about non-things in a subjective sense, ...how did we represent ourselves in non-thing terms, with a non-thing voice? As the Zen parable of the wind, flag and mind said, as soon as you open your mouth to speak, you are wrong. If you want the voice to be coming from inter-thing space-time, you find yourself in the position described by Wittgenstein in his last sentence of 'Tractatus', ... "What we cannot speak about we must pass over in silence."

In spite of the fact that we cannot only give 'internal voice' to it as Vygotsky says, and are unable to articulate it in external voice, this invisible inter-thing space-time dynamic associates with more energy than is contained within the ensemble of 'matter' which occupies the inter-thing ether. And of course, thought Emile, another part of the problem is that it is not really 'inter-thing' space per se, because as we know in the case of electromagnetics, there can be, and is, dual or 'inclusionary' occupancy in space; i.e. the presence of matter does not displace the 'ether'. Einstein, in speaking to these curious issues, had concluded his essay "Ether and Relativity" by saying; "According to the general theory of relativity space without ether is unthinkable; for in such space there not only would be no propagation of light, but also no possibility of existence for standards of space and time (measuring-rods and clocks), nor therefore any space-time intervals in the physical sense. But this ether may not be thought of as endowed with the quality characteristics of ponderable media, as consisting of parts which may be tracked through time. The idea of motion may not be applied to it."

There you go, thought Emile, ... just like the feeling in the Bahamas, ... no wonder everyone likes diving so much, and motorcycling gives you the same 'immersion' sensation, .... how can you have 'things' without them being contained within something other than an abstract rectangular grid, and if they're contained within something and so are you, then we're all swimming in the same inclusionary space-time flow, ... the same 'ether'. Sure, it may not present us with any mass-like properties to measure, but as Einstein has said, it is nevertheless a 'participant in physical phenomena'. Culturally, we were on a totally congruent track with Heraclitus, but commencing with Parmenides and his 'thing and void' routine, it seems that our aboriginal understanding of etherial flow has been lost in the 'thing' shuffle.

As Emile's fingers continued to spew out the glyphic streams which flocculated nervously into words and sentences around his thought-attractors, ... the notion came into his head of those weird situations like where they circulated your blood outside of your body, ... now there was a case where you could kind of sense something different, where what's normally in the space between things, .. like in the spaces between your body parts and organs, ... is exposed in front of you; .... the flow which seems to transcend the matter it envelopes, is, in the external-blood-circulating situation, made visible in front of the perceiving system. Looking out upon one's own flowing blood while it remains the key to the continuance of your life, ... is like getting a very 'convincing' vision of systemic interconnection between the inner and outer worlds..

Emile wondered from whence such a strange thought had entered his head, ... the thought of comparing this immersed space-time feeling with looking at your own externally circulating blood. Now the mobius strip geometry of that situation certainly gives one a sense of the geometry of environmental 'co-evolution' and awareness. You would hardly have to remind yourself not to throw your empty beer cans into THAT 'stream', or 'evolutionary flow', ... nor would you have to remind yourself of the preciousness of the resources out there, .. 'You want all 12 quarts of my circulating flow all at once, for $1000 a shot, ... it's a deal' ---NOT!

What we're talking about here, with this self-referential or 're-entrant' geometry, reasoned Emile, is the relationship between 'things' and 'time' and the fact that 'space' is not just 'a place to put things', but a participant in phenomena, as Einstein had said. In fact, 'space-time' was looking more and more to Emile, like the mother 'soup' from which thing-children are continually born. Matter is always evolving, so why don't we give credit to the containing 'ether' as being a more permanant or fundamental 'mother' for reality, like the Buddhists and aboriginals seem to do? In terms of our perceptions, we seem to be able to 'speak for the world of ether', when we intuit immersed space-time, even if we can't articulate the 'feeling', and we can, of course, and incessantly do 'speak for the world of things'. Some, like Parmenides, would argue that that's all she wrote, but of course we know there's more, but have a devil of a time talking about it.

Emile's mind went again to Kepler's third law, R**3 = k*T**2, .... and he thought, ... 'Kepler knew there was something huge in this law, .... this law about pure systems harmony without any mention of 'matter', so what IS that something huge?' The general public seemed to be far more impressed by Newton's corpuscle-and-force law of universal gravitation, F = g*M1*M2/R**2, which says diddly squat about system harmony, and it can only handle two bodies at a time, .... in keeping with Newton's prudish nature, perhaps.

If you took the material out of phenomenal description and looked at space-time order in terms of pure motion, as Kepler had done, you could only use points and trajectories. And if you thought about it, a 'point' was the special case of the trajectory in the sense that it didn't appear to move. There was a fundamental ambiguity here of course, as one could imagine the case where two warriors were stalking each other, as the earth stalks the moon, looking constantly into each others eyes even while both circle the other. If we now reduce them both to points of cognition so as to extract the pure motion, then they would see each other as fixed points even though they were each rotating around the other, so that this special case of center-to-center is where there is no discriminating sense of relative orbital motion (i.e. they can be co-orbiting 'in phase' alot or not at all at the same time without being able to be rationally prove it.). So all we can sense of for sure in our point-center-of-cognition mode is relative orbital motion, and we can't be sure about our own orbital motion, if it exists.

From the point of view of this point center of cognition mode, one could say that there was no such thing as 'absolute motion' or 'motion in itself', that it was all ambiguously relative, and in this sense, the perception of motion seems to emanate from the space between notional space-time patterns and the point-center of cognition. Thus the immersed space view seems to 'give voice to' the ether itself, rather than to a 'thing' within the ether.

Reciprocally, if one sees space-time order in terms of a 'center out there', such as the sun-center as seen from the earth, then one has the means of ratiocinating the structural patterns relative to the center 'out there'. This 'pivoting off of' the center out there in describing system order, would seem to (artificially) remove the ambiguity of who was orbiting who, since what is being sensed is no longer relative orbital motion but the relative structure in the patterns of motion; e.g the orbital extrema of venus relative to mercury. It is by this reciprocation of perspective, that the notion of a 'center out there' aka 'thing' emerges. In the process, the 'voice' of the view seems to shift to that of a voyeur 'thing' (a 'enter-out-there-thing') , and the harmonic or periodic aspect of motion seems to be destroyed.

Emile could see now how this way of looking at perception emulated the geometries of quantum duality, with the wave view corresponding to the 'immersed space' or 'center in here' view and the particulate view corresponding to the 'voyeur space' or 'center out there' view. It was also demonstrably the case that the 'voyeur space' view involved an 'out there' relativity which did not include the observer in the dynamic, while the 'immersed space' view was a co-dynamical view. As soon as one reduced the ambiguity of relative orbital motion by accepting the new relativity of a 'center out there' (a 'thing'-view), the sense of involvement of the observer dropped out along with the co-orbital interference patterns between/amongst the point-trajectories which were necessary ingredients for 'imaging' the 'immersed space' or holographic view.

'Words, words, words', thought Emile. There could be no closure in the articulation of issues of perception because one ran into this self-referentiality property of nature, ... one could in no way catch an attractor and confine it in a cage, because the attractor was simply the reciprocal disposition associated with a motional trajectory; ... if you were going towards it to garner a definitive look, every movement you were making in the process was redefining the attractor. It was like trying to dance with our own image in the mirror, ... the image in the mirror didn't wait for you to come and take a voyeur look at it, it moved in reciprocation to you. In the end, you had to accept that your voyeur approach could not be applied to yourself, and just quit worrying about 'closure' on the issue. Closed rational thought, the voyeur view, was like a wittgensteinian ladder which would let you look and approach something, but not quite get to it, ... when you got suitably close, you just had to jump the rest of the way into an intuitive understanding. Otherwise you would be sailing into an into increasing obscurity, into a 'reductionist nightmare' where more and more words and details simply served to obscure the issues pursued.

Emile realized he had just now come to the edge of that 'circle of confusion', and had to retreat. It was really quite simple. Everyone intuitively recognized two modes of perception, as Kepler had described, ... you could stare at things or people as if they were totally detached from you, and you from space, ... or you could perceive yourself as being part of a shared space in which other things and other people were fellow 'constituents', ... perceiving that what was 'out there' was like your own blood circulating back into your body to keep it alive, ... the same geometry as between a defining trajectory and its attractor, where one is the 'reciprocal disposition' of the other, ... the fluid between the parts versus the parts themselves, an innate interdependence.

Emile could see that the immersed space view was the primary view and it emanated from the simple notion of an awareness of being somewhere (immersed in some volume) and the corollary motional notion of 'periodicity' or 'orbiting' around a center, while the voyeur view was a derivative view, which came from reciprocating the center from 'in here' to 'out there' and discarding the periodic (harmonic), co-dynamical information which connected the observer with the space-time world in which he was an immersed constituent-participant.

Voyeur view based reductionism was the special case child of immersed view based 'whole-and-partism' or 'intuition', ... the special case child being the case where the observer was excluded from the observed dynamic. Because of this parent/child relationship, no reductionist investigation of perception was ever going to unveil the secrets of intuition, since Goedel's theorem showed that reductionist reasoning, .. based on a finite system of logical rules, could not stand on its own shoulders and look down on its own behavior relative to its environment, .... reductionism was not itself capable of the 'inclusionary' property which was the essence of intuition.

Emile was about ready to wind down his thoughts. He could see that Kepler's third law, R**3 = k*T**2, concerned the dynamical relationship of space and time in a volumetric sense, without any pre-specification of 'three dimensions', and showed the basic role of periodicity in the space-time relationship. The volumetric sensation of space related to the square of the periodicity around the cognitive center, and this 'square' was reminiscent of the quadrature in Gabor's communication theory, which associated with the reciprocation of a complex function, the co-circling of warrior planets as they stalk each other which sets up an irresolvable perceptual ambiguity (the observor can never know his own motion in absolute terms).

Emile pondered these alternative ways of perceiving reality, ... 'immersed space' and 'voyeur space' and wondered how the west had become so enamored of 'voyeur space' to the point that that was so often the only 'officially recognized' perceptual mode. It seemed that females thought more in terms of 'immersed space' and 'harmonic interference' perhaps because having babies would seem to tie to that feeling of immersion, ... the baby within the containing mother and the mother within the containing 'ether'. At any rate, it seemed obvious that females could slip into 'immersed space' more easily than males; ... the Heraclean 'win/lose' hero tradition of western man had likely contributed to the more firm embrace, by males, of the absolutes, ... 'good' or 'bad' and 'win' or 'lose', the exclusionary kind of thinking that precluded one from getting into the 'inclusionary logic mode' associated with 'immersed space' perception, ... inclusionary logic being capable of dealing with geometries like magnetic hysteresis where the magnetic matter and the magnetic field (the containing ether) CO-EVOLVE. Perhaps this was why males were so prone to suicide, and why this was on the upswing, .... because they were losing their ability to perceive in terms of 'immersed space', and were increasingly alienating themselves from the world. This should come as no surprise since the whole western system of thought and organizational structure was 'voyeur-based', and through the globalization of these co-resonance-destroying cultural organizing structures, it was becoming harder and harder to 'tune in' to the immersed space-time view.

As several of Emile's webfriends had noted, the business scene was rapidly 'voyeurizing' with more-and-more mergers and acquisitions and downsizings and mergers and acquisitions and downsizing, ... canabalistic financial feeding frenzies, ... a MADness which paid no attention at all to the shared space-time ether-flow, which was being converted into a junkyard and looking progressively more blood-stained and contaminated. It seemed a case of parents devouring their own young, ... or the present devouring its own future and as it did so, allowing its dysfunctional excreta to taint shared space-time to the point youth was destroying its own life rather than turn it over to feed out-of-control voyeur structures.

Faced with declining access to the immersed space feeling of co-dynamic belonging, and a commensurate increase in subjugation to a voyeur-only view of the world, not only do we lose sight of the systemic interdependency between what's 'out there' and what's 'in here', we back ourselves in to a dismal and darkening flatspace view of the world, ... a lifeless view of reality not unlike that depicted in Shakespeare's Macbeth;

Tomorrow and tomorrow and tomorrow,

Creeps in this petty pace from day to day

To the last syllable of recorded time,

And all our yesterdays have lighted fools

The to dusty death. Out, out brief candle!

Life's but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more; it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

By condemning ourselves to voyeur space, we detach ourselves from life, ... no longer are we an immersed participant in the space-time dynamic, ... no longer are we the Montague and Capulet stalking one another in a relativistic space-time dynamic whose only describable center is evolution itself, ... ... no longer are we co-resonating and co-evolving with that collective which is also us, the janus face of the individual reaching out to embrace the janus face of the collective, ... no longer do we see ourselves as both trajectory and attractor, a geometry wherein the life we are reaching out to grasp is the 'we' who is reaching out to grasp it.

The ontogeny of Emile's thoughts seemed to recapitulate the ontogeny of the voyeur culture, ... a morphogenesis from the deep, rich and natural, to an incessant rationalist pre-occupation and chatter over issues which could only be dealt with intuitively, ... the onset of a reductionist nightmare, ... a futile exploration for closure satisfiable only by closing out the explorationist from his own life, ... by having him lose himself within the densifying maze of his own inward spiralling logic.

As Emile walked back towards the window, his head reeling from an excess of mental voyeurism, and ravenous for re-immersive rebirth, ... aboriginal words of wisdom came to him from a voice in the ether, like summer rain on parched leaves.

Stand still. The trees ahead

and bushes beside you

Are not lost. Wherever you are is called Here.

And you must treat it as a powerful stranger.

Must ask permission to know it and be known.

The forest breathes. Listen. It answers.

I have made this place around you.

If you leave it you may come back again.

saying Here.

No two trees are the same to Raven.

No two branches are the same to Wren.

If what a tree or a bush does is lost on you.

You are surely lost. Stand still.

The forest knows

Where you are. You must let it find you.

'Lost' by David Wagoner

from Northwest Coast Aboriginal Myth

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