The "hylian spin sign" has a nice effect. When it is still, the parakeet looks like it is flying, but when it spins, the parakeet looks like it is standing still.
As the riddle of the sphinx means "sitting, standing, flying on a carpet," translated into hylian, four legs is man on a horse, two is man on a mountain, and three is a dancing couple. They appear to be doing a tango, she has one leg in the air.
But when the hylian sign stops, the dance moves forward and we see that she is actually floating, and didn't have "one leg in the air," but one foot touching the ground, for the show of it.
So the basic understanding here isn't thesis, antithesis, synthesis, but "subjective, objective, symbolic, or hylian." Like subjective blood sweat and tears are literally blood sweat and tears. Objectively thought, blood sweat and tears are literary, the blood is red, the sweat is heavy and the tears are clear. Hylian blood is shed, the sweat is light and the tears are symbolically heavy.
Reining, reigning, raining. Literal and literary can help the mentat mathematician to work with the odd world of uneven equations. We use the example of perfection.
We say perfection is not perfect, and approaching perfection, is perfect. The formula must not collapse in mathematical equality, meaning we don't say "if perfection isn't perfect, but we said what isn't perfect, is perfect, than perfection is perfect because it is not perfect."
Equalizing or balancing the formula, creates infinite progression and regression of perfection and approaching perfection, and the only thing it produces is perfectly infinite, or zero.
But what was perfect is not literally perfect, and that does not change, it is always perfect, but not literally. And what is approaching perfection is always literarily perfect, and because it is literarily perfect doesn't make it "perfect, and therfore not perfect."
Symbolically, perfection is woven, with one thread left deliberately out of place. But a good woven pattern should read as good backwards as well as forwards, making the thoughts seem to have all come in reverse. I prefer starting here and working my way down. But you may like the order in which it was originally composed.
Maybe the theme of the weave is "chess set perfection," with two rows of eight tombstones, four masoleums, modelled in the popular atlantean temple-style. And four carved pillars marking the graves of four prized horses, four angel statues, and two pyramids and obelisks for the kings and queens. It has not yet been determined which is which.
Some guests swear the tombstones move, rearranging the paths. But that is no longer the matter at hand.
The matter at hand, as we say, is always hylian. But the matter of thought, we like to call the xvarnah. The xvarnah as light, is the light of the mind, and like science has shown with natural light, has a wave-particle effect that makes it two-in-one. We come back to the idea of the actual human being, in the objective meaning, being not a thing, but a bandwidth. The frequencies within the bandwidth may be measured like musical scales, evenly spaced, or in the harmony of exponential magnitudes. When the frequencies are spaced evenly, the scales are correct yet sound odd, and the octaves don't add up to the same place as the harmonic doublings and doublings of doublings.
We might consider that the hero and the mystic both have xvarnah, beginning in splendor, or glory. Through the xvarnah, the hero finds his destiny, from which he may not escape. The mystic, on the other hand, finds victory through the xvarnah. Therefore we may say that the xvarnah is light of glory and destiny, or victory.
As well we might say that when the subjective senses are closed, the hero dies. But the mystic still has the objective senses, and therefore lives. But really, the objective senses must close as well. When both sets are closed, the hylian senses as "truly imagined" are the only subjective senses, while the senses of the actual human being, in objective meaning are all but "present and accounted for."
And only then can the mystic really say anything worth thinking, let alone thinking anything worth saying. So you might want to "step up your hylian material production."
Which brings us back to the idea of the "arcs of your written history," beginning from the time you learned to write. We notice that by closing down the sixth, or "arc of wit," the second arc of "technique and critique," or composition and experimentation, shuts down with it. And as we close the fifth, or "arc of brevity, or mercy," the third "arc of Interzone" shuts down. To close the first arc, though requires a seventh arc, which must be shut down before it is ever opened.
So here we have our useful portal, which the hero dies in front of, and the mystic disappears through, never to be seen again.
By closing down the first and seventh arcs, the portal may be opened in the fourth arc, which takes us to an eighth arc, displayed as a review of the other arcs, which works as well backwards as well as forwards, and a ninth arc, which has a portal just like the fourth arc, but now it leads outside the arcs.
So we hear a slogan like "turn on, tune in, drop out," and while it sounds like a move toward the wisdom of the Goldberg circle, objectively it does not slow the mass production. And then you can buy the album, "what do you turn on, when you turn on," where Tim explains all about who and what you are, but never answers the question. That "what you turn on" is the hylian link in between you and the turn on. And so it would be better said today to "turn in, link up, sign off."
And now as the arcs are all closed up around the fourth one, and the weave is all but finished, we'll spend these last few moments here "sewing a fringe and spilling some water" on the rug, and leaving the matter at hand, talk loving shop talk about this new engine I'm working on.
The hylian engine gear-set can be switched out. I have a set of all sizes from three to fourteen. The big ship that I'm working on will use a twenty-four, which can easily do 9x speed above light with lots of headroom. The output is sixty hylian characters a second, with twenty probability trees and twenty time-evaders. Hylian time-evaders are like punctuation marks, but we call them evaders instead of invaders because they are more like the rests and stops of musical notation, and not like wasters, slacking off to Bob.
So the twenty-four gear, or 60/20/20 engine, is for the star-cross flagship. There are bigger engines, but really it's all about the power differentials. Hylian characters per second, minus number of gear teeth is the formula. So twenty-four gear gives us a power differential of thirty-six. I have an old forty-nine gear, modelled on the old Sinistar navigation system, power differential runs at just under seventy-five. Can't see the use of putting in the flagship when the twenty-four already gives so much headroom. It would basically be like doubling the power differential for nothing.
A hundred gear-set has a power-differential of ninety. And a hundred and thirty-six gear puts the power differential over two hundred. Now, a hundred, I guess I can see, maybe for a heighline freighter or something. But two hundred, I don't know. Maybe if you wanted to fly a ship as big as a planet.
Earth could run on a one twenty-eight gear set, I bet, giving it a power differential of one ninety-two. Could maybe then free broadcast thought, like Nikola Tesla free broadcasting electricity.
You know, to help offset the Terran power differential. But it could never happen. Where would you put the engine.
For my main sailing ship in a bottle, though, I use the fourteen gear. Of course my main ship can fit in the flagship's, bottle and all. And in the smaller, cozier ship, we use the nine gear.
But you could even use these engines on very small craft. The lightest little one-man zaxxon glider can be outfitted with a three-gear. I know a guy that modded a "road british" vic viper with a five gear. When he engages orientation, it creates a ripple effect that actually looks like spacefolding in front of the ship as he flys through the portal.
And another guy I know, Captain Doad, uses a six gear in his ten-seater mushroom space yacht, the goodship lalihope. The nine gear may be a bit much for a small ship, but a nine gear is the smallest that will hit 9x speed without running hot, which can wear on the ship's structural integrity. Rule of thumb is, have an engine that can run at least four times speed higher than you want to go, plus one for good luck. A nine gear starts to heat up after 13x, and maxes out at 14x above light, so there is just enough headroom to hit 9x with no blame. An eight gear heats up at 12x speed, and so can actually only hit 7x with no blame.
Of course, even a three gear hits speeds faster than light. And there are very big ships out there, like the ursonic whale. It isn't bigger than a planet, but it is bigger than the moon, but it runs on a different kind of engine entirely.
But if you want to "go in search of angels," it helps to remember that when the faithful insist that angels objectively exist, and the dead mass scientist insists that they do not, and are only subjective imaginings, we insist with the scientist they do not exist, but we mean both objectively or subjectively, because they only exist in thought.
That said, we spin the hylian sign like a hero, bringing the parakeet to a standstill.
