intuition | MISHLOVE: I should mention here, since you've used the
term, that chronotopology is the name of the discipline which you founded,
which is the study of the structure of time.
MUSES: Do you want me to comment on that?
MISHLOVE: Yes, please.
MUSES: In a way, yes, but in a way I didn't found it.
I was thinking cybernetics, for instance, was started formally by Norbert
Weiner, but it began with the toilet tank that controlled itself. When
I was talking with Weiner at Ravello, he happily agreed with this.
MISHLOVE: The toilet tank.
MUSES: He says, "Oh yes." The self-shutting-off toilet
tank is the first cybernetic advance of mankind.
MISHLOVE: Oh. And I suppose chronotopology has an illustrious
beginning like this also.
MUSES: Well, better than the toilet tank, actually. It
has a better beginning than cybernetics.
MISHLOVE: In effect, does it go back to the study of the
ancient astrologers?
MUSES: Well, it goes back to the study of almost all traditional
cultures. The word astronomia, even the word mathematicus, meant someone
who studied the stars, and in Kepler's sense they calculated the positions
to know the qualities of time. But that's an independent hypothesis. The
hypothesis of chronotopology is whether you have pointers of any kind --
ionospheric disturbances, planetary orbits, or whatnot -- independently
of those pointers, time itself has a flux, has a wave motion, the object
being to surf on time.
MISHLOVE: Now, when you talk about the wave motion of
time, I'm getting real interested and excited, because in quantum physics
there's this notion that the underlying basis for the physical universe
are these waves, even probability waves -- nonphysical, nonmaterial waves
-- sort of underlying everything.
MUSES: Very, very astute, because these waves are standing
waves. Actually the wave-particle so-called paradox isn't that bad, when
you consider that a particle is a wave packet, a packet of standing waves.
That's why an electron can go through a plate and leave wavelike things.
Actually our bodies are like fountains. The fountain has a shape only because
it's being renewed every minute, and our bodies are being renewed. So we
are standing waves; we're no exception.
MISHLOVE: This deep structure of matter, where we can
say what we really are in our bodies is not where we appear to be -- you're
saying the same thing is true of time. It's not quite what it appears to
be.
MUSES: No, we're a part of this wave structure, and matter
and energy all occur in waves, and time is the master control. I will give
you an illustration of that. If you'll take a moment of time, this moment
cuts through the entire physical universe as we're talking. It holds all
of space in itself. But one point of space doesn't hold all of time. In
other words, time is much bigger than space.
MISHLOVE: That thought sort of made me gasp a second --
all of physical space in each now moment --
MUSES: Is contained in a point of time, which is a moment.
And of course, a line of time is then an occurrence, and a wave of time
is a recurrence. And then if you get out from the circle of time, which
Nietzsche saw, the eternal recurrence -- if you break that, as we know
we do, we develop, and then we're on a helix, because we come around but
it's a little different each time.
MISHLOVE: Well, now you're beginning to introduce the
notion of symbols -- point, line, wave, helix, and so on.
MUSES: Yes, the dimensions of time.
MISHLOVE: One of the interesting points that you seem
to make in your book is that symbols themselves -- words, pictures -- point
to the deeper structure of things, including the deeper structure of time.
MUSES: Yes. Symbols I would regard as pointers to their
meanings, like revolving doors. There are some people, however, who have
spent their whole lives walking in the revolving door and never getting
out of it.
Time and its Structure (Chronotopology)
Foreword by Charles A. Muses to "Communication, Organization, And Science" by Jerome Rothstein - 1958
Foreword by Charles A. Muses to "Communication, Organization, And Science" by Jerome Rothstein - 1958
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