I wanted to raise a reflection, if someone wants me to follow this path.
I wanted to raise a reflection, if someone wants me to follow this path.
A reflection that, in reality, I do not know if it has already been raised by someone before.
In that case, I hope to reconnect to what is already thought.
I always interpreted the glyphs as something two-dimensional. Nothing but a Cartesian evolution of a simple route, which starts from one point and arrived to another, connecting them in sequence.
Now, observing the glyph composition grid I wondered: why the space we display within the hexagonal shape of the grid should be flat?
Why do not we perceive as a three-dimensional space?
I tried, therefore, to consider the grid as if the points of intersection were the edges of a cube.
In this new kind of perspective, not only all the arguments on the right symmetry / right and up / down glyph is enriched with new elements, but there are new plans for possible symmetry - as in front / behind and diagonally.
I am proceeding to produce three-dimensional compositions of overlapping glyphs, with multiple redundant combinations that portalnetwork offers. I'm curious to see what kind of pattern I will be able to define, and if this type of study may or may not have an outlet of some kind.
A reflection that, in reality, I do not know if it has already been raised by someone before.
In that case, I hope to reconnect to what is already thought.
I always interpreted the glyphs as something two-dimensional. Nothing but a Cartesian evolution of a simple route, which starts from one point and arrived to another, connecting them in sequence.
Now, observing the glyph composition grid I wondered: why the space we display within the hexagonal shape of the grid should be flat?
Why do not we perceive as a three-dimensional space?
I tried, therefore, to consider the grid as if the points of intersection were the edges of a cube.
In this new kind of perspective, not only all the arguments on the right symmetry / right and up / down glyph is enriched with new elements, but there are new plans for possible symmetry - as in front / behind and diagonally.
I am proceeding to produce three-dimensional compositions of overlapping glyphs, with multiple redundant combinations that portalnetwork offers. I'm curious to see what kind of pattern I will be able to define, and if this type of study may or may not have an outlet of some kind.
That's an amazing thought. I hope it is fruitful!
ReplyDeleteMaybe James Thirteen amazing project will be interesting for you plus.google.com - I12Project
ReplyDeleteRaul Manuel Mena Alpuche FRANCISCO GASPAR BRICEÑO MOO ustedes pueden ayudar?
ReplyDeleteJose Gabriel Canche May al momento no tengo algo con que contribuir sin embargo estaré a detalle en caso de obtener información o algo en que apoyar.
ReplyDeleteI'm working in the search for a chart can produce with me the various three-dimensional models required.
ReplyDeleteI hope to have some response within a short time.
I hate not being able to do everything alone, to fast, but this goes beyond my expertise.
I don't buy any of the 3-D theories. The N'zeer communicated with Jahan through an interface that was capable of 3-D projection, but still treated the glyphs as two-dimensional. If there was ever a chance for exogenous entities to show us the "correct" way to view glyphs, that was it.
ReplyDeletehttps://youtu.be/bgJq6eYzPcI
I understand the point of your reflection, and the video evidence will be absolutely right.
ReplyDeleteNevertheless, the construct that allows Jahan to "write the glyphs in the air" is visibly a solid three-dimensional energy building, with a flat writing "zone" in the middle.
Or rather, an area that we perceive flat.
The human senses than the concept of "alphabetic tools" will always refer to something two-dimensional, unless we look at the pictograms - those, such as communications, are meant to be shown two-dimensionally on the writing medium while having a their entirety as three-dimensional constructs.
Now, we're confident that N'zeer or Shapers are limited to a two-dimensional writing? And why? We never saw them, we do not know how they are made.
The human being has and produces mathematical base 10. This is because? Because the hands have 10 fingers. plus five CInque.
And if the Shapers and the N'zeers they had more or less than five? Even this would affect their production of an alphabet.
The glyph grid has six vertices. Why, then, these transdimensional races can not have six fingers on each hand - if they had hands. Or a mono appendicular structure that allows him to "write", and their "container" to do so, as was the cartouche for Egyptian hieroglyphics, is a hexagon.
If we decide to put us to seek the truth about what is happening in the world out there, which is not what it seems, then I think discard priopri case scenario is always wrong, even before the evidence.