I first needed to know what semiotics meant, it means:
the study of signs and symbols as elements of communicative behavior; the analysis of systems of communication, as language, gestures or clothing.
I am communicating through the geometric shapes I create; I just don’t know what I am communicating. This reading helped me to look first understand that there is a projection, and there is what is projected. They are not always the same. Geometry is the language of propositions, and “to the proposition belongs everything which belongs to the projection: but not what is projected. So then I had to realize that geometries are looked at in 3 categories, imaging, kinetic and conceptual. I am mostly interested in the imaging and the conceptual. “Imaging geometry is the aesthetic of visual harmony based on the abstract geometrical patterns.” This is important for me to articulate to myself. It helps to understand that interpretation is very hard to distinguish, and yet it can still be “articulated” through the more concrete mathematical aspect of geometry, which they all share, as well as through the more conceptual artistic aesthetic of the shapes produced as well as the way in which they behave together as a composition. They “induce a perception process.”
The second reading helped me in my research as far as, making kinetic geometry more visual for me. I see how the decisions made as far as color juxtaposition, and linear rhythm allow for a space to be perceived in a particular way, to have specific meaning through ambiguity. What is difficult for people to grasp is the specificity of meaning in geometry when they are not used to communicating in that way. It can seem vague in meaning, but it isn’t. It follows a certain mathematical rubric, as well as communicates to each other in a definite way. That way being through color, line, movement, composition or variation and also architectural placement.
through the last week or two i have been searching for known ratios and standards within geometry which are all mathematical, i have found some ratios on circles within circles that was helpful.
All creation is the interweaving of cycles. From Galactic manifestation to subatomic waves, the universe is a vast spectrum of cycles. The cycles of birth and death, summer and winter, day and night, in-breath and out-breath weave the fabric of life. The ancient rishis (Yogi's who purified their body/minds and directly experienced the fundamental forces of creation) experienced the underlying unity of all cycles as the breath of Brahma and the ubiquitous periodicity of the universe as the rhythm of the life breath of a single harmonious Living Being.
-more on the golden ratio-
the above picture is the basic 4 constants of circle expansion.
The inexact but close coordination of the circle expansion /contraction ratios for the basic four (real domain) math constants that form a group from several different perspectives illustrate an example of a Gurdjieffian TI-DO shock or bridging energy in an octave process. The TI-DO shock fills the ascending TI interval to the next octaves’ fundamental
DO to exactitude, thus completing it. These constants were coordinated by ancient builders when they erected structures based on 2 orthogonal axes using the math relations of phi, the golden section, and two for the north-south axis math relations and e, base of the natural logarithms, and pi for the east-west axis. The PI Great Pyramid at Giza, Egypt and the Parthenon in Athens, Greece, are two examples. I have also found that the B4C are coordinated by a rule of exponents such that a new constant is created which is the least-mean-square error optimized value of the number which is simultaneously a root of each of the 4 constants where the index of the root is very close to an integer of 3 digits or less. This optimized value I designate HC (Heleus’ constant) equal to 1.0060427, which is simultaneously about the 80th root of phi, the 115th root of 2, the 166th root of e, and the 190th root of pi. HC approximations and its integral and simple rational powers abound ubiquitously in tables of math constants ( such as Steve Finch’s). The basic 4 constants also coordinate by summing to just over a straight angle when represented as circle expansion/contraction ratios created by stacking tangent circles of that common ratio inside a characteristic angle and bringing all four angles to a common origin. When this is done, the sum exceeds a straight angle by about 3.57 degrees, which as shown here, characterizes a TI-DO shock.
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