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Lovecraftian Neurocircuits: Circuit Nine


This time we will look at a proposed circuit 9. This description is based on my own experiences, and an attempt to describe how the general principal of motion might be conceptualized for a consciousness that moves through a thing other than space. Circuit one can be thought of immediately as physical space, forming a dialectic of approaching and avoiding various experiences. Circuit five can be seen more as emotional space, loving and hating. Here we have described circuit nine much more abstractly, as a dialectic formed by consonance and disonnance.

Circuits 1, 5, and 9
approach avoid, love hate, Consonance Dissonance

Here we have borrowed the musical metaphor of consonance and dissonance. While I personally think of all frequencies as “sounding nice” together, as all aesthetics can be considered acquired tastes (if you'd like to hear my microtonal opera: ), there is also a mathematical definition of consonance and dissonance. Two frequencies are consonant if they form a whole number ratio between each other. The most consonant frequency pairs are octaves of each other, while the most dissonant frequency pairs would be irrational ratios, like 100π hz against 440 hz. This is because an irrational ratio wil never repeat, it cycles off infinitely, as seen in the nonrepeating decimal presentation of the number. Note that this is purely relative, as 100π forms an octave with 200π.

When viewed abstractly (and thinking about a thing always involves abstraction, though experiencing it perhaps does not), one will find certain consonances between various phenomena. A well known visual example of this is the mushroom cloud produced by a large explosion. The shape of the cloud is consonant with the shape of a mushroom, and also most trees, when seen from a distance.

As one leaves the physical presentation of the universe as we perceive it, and enters into higher dimensional perspectives, the conception of approaching or avoiding something is null, as nothing can be approached or avoided in the same sense, as in the physical-emotional space of the first four circuits. On the emotional-mental space of the second four circuits one no long approaches things physical, but instead approaches the emotional, as seen in the fifth circuit, being emotionally close to a thing is experienced as love. In the mental-spiritual space of the third four circuits, being mentally close to a thing is experienced as consonance. This is when the patterns of one's mental existence, the programming on their bio computer, or perhaps their spiritual composition, are congruent with another mental existence. This does not produce the opiate bliss of the first circuit, or the tantric unity of the fifth circuit, but instead a sublime and omniscient interconnectedness with another thing, as when viewing a fractal animation, one instantly comprehends how all the parts fit together perfectly, moving at just the right arcs and velocities to produce the whole microcosmic world laid out before you.