A NEW PERSPECTIVE
If, for the moment, we ignore Humanly directed willpower, there are two main classes of natural causality that we can directly experience and measure. One is the everyday mechanical type of causality where one thing, or event, affects another in the same space in and the period measure we call Time. The other class occurs when two or more energies meet. It is then they produce a harmonic expression, as when an energetic river flows to the sea to create by harmonic resonance, an existential rippling synthesis at its meeting.
When attempting to account for the conscious observing Self, part of our problem is that we have forgotten that like that river/sea ripple, the melody that we refer to as ‘I’ or ‘Me’ is but one more existential ripple, arising from of an ocean of relationships. In a world that itself is the symphonic expression of myriad relationships, thought/words, like music, are reciprocal expressions of interval/ratio. As such I am, as the expressive grammar of a moving shoreline that occurs where a sea of expressive discourse meets its expression in the stream that is reality.
The concept of ‘existential’, as in the work of Jean Paul Sartre once belonged to a subjective evaluation of a human condition, such as in a reference to human survival, or the meaning of life. By contrast in my usage, I defer to Heidegger’s definition, of existential as the ontological structures or the fundamental, universal characteristics of any physical existence. In this sense, any continuing process can only exist as synthesized pattern of its formative relationships.
We popularly say and believe that we “Come into the world”? Yet, the question is begged, “Do we not also logically energetically arise from relationships that are the harmonically connected energetic world? Do we not describe and express as metaphor, through a sea of discourse, the relationships of human interest that are continually forming the world?”
It is logically and empirically the case that we arise as expressions of energy, like a theme in the symphony of relationships that are the world, to express through discourse the ratios of intervals that are the grammar or Logos that is the existential world.
Yet we retreat into a cave of sentimental human ‘Belief’ to sustain a view that we are somehow important and separate ‘Things’ in the world, rather than being an expression of its relationships. From within that cave to start any statement about relationships in the world with the words “I believe!”. It is belief which immediately disconnects the believer from a natural world of logical relationships from whence the believer logically arises to interpret and re-express those formative relations. Such a strategy may be reasonable in a ‘Cave’ of beliefs, but it is one irrationally-removed a step away from the logical relationships that are the natural ‘Logos’, or formative ‘Flowing-Grammar’ of the continuing universe.
Until we can reboot our thinking systems and find a more fluid ‘Way’ that logically reconnects our thought, thus our Self to the world, we are stuck with egocentric human ‘Belief’ rather than the organizing Logos, that is the organizing grammar of the ‘World’ itself and in its equations, the mathematical the arbiter of what we call knowledge.
‘Threshold-A Fluid Reality’, (2018). The first of the series points the way to such different ‘Way’ of thinking. After a gentle introduction to the manner in which farmers and fishermen we used to think, it explores the problem of understanding Self, Mind, and what our time-bound grammar of thought and language defines as ‘Reality’. It raises both a logical and believable solution which is paradoxically beyond what we refer to as Belief. This new strategy points to a different more flowing way to account for ‘Mind’ and the existential directing Self. As a vehicle for new ideas the narrative tells the true story of a voyage along the English coast from the perspective of a voyaging sea-nomad.
‘Sentience & All That Jazz’, (2024) Is the second book of the trilogy. It develops a new perspective of human consciousness explored in the first book ‘Threshold’ by comparing the grammar of patterned sonic energy, we know as music with the same patterns existentially transduced into the electromechanical neural energy in the human brain. It is these organised transducible patterns of frequency intervals-ratios, that neural energy carries, which we can define as human thought. These are the organised energy interval-patterns that are the grammar of melody and with which, as neural energy patterns, a jazz musician or composer existentially extemporises new structures. As grammatically patterned neural energy, we as humans being, also use that grammar to structure our thought.
‘A Musical Reality’, ( February 2026). Derived from the activity of a Jazz musician exploring the nature of the patterned sonic energy we call music. This book explores a new existential way of looking at physical relationships as being formative of a continuing energy-field. This continuing field, we colloquially know as Reality. In this view, reality, as the continuing synthesis of its formative relationships, as is a musical symphony. Reality then, can be envisaged as being analogous to the continuing product of a flowing patterned energy field. Such a ‘field’ we call a Symphony. Reality then, is is a continuing symphony of ratio-patterned intervals. Like music, this stream of patterns, we can period-measure its flow, and describe with the fragmenting linguistic grammar of belief. It is belief in traditional ancient explanations of a Genesis, which masks the actual flowing energetic existential physical reality which we call Time.
A Different Way Of Thinking 