yoga4d.org/voc.txt is location of this document;
it's linked to at norskesites.org/fic3/fic3inf3.htm
==========================================================
==========================================================
Some PMN vocabulary; this, alongside the other key
documents listed at intraplates.com and inside the Third
Foundation G15 PMN are all part of the five-volume The
Art of Thinking, by Aristo Tacoma
==========================================================

FOREWORD
The G15 PMN programming language is increasingly standing
forth as something that is a vehicle for clear thinking.
There isn't one single reason for it: it is a composion,
rather like a musical concert, of a large number of ideas.
Though hugely simple, the ideas are many and complex: and
for a beginner to G15 PMN programming it would take weeks
if not months to get to anything like the present 
overview, in this vocabulary. You might wonder--why not 
just present the formalism and leave it at that. The 
background is just a question of myth. However, a 
programming language is more wrapped up into contexts
than the formalisms of books before the advents of
computers. This is especially so now that in the 21st
century computers are so used and abused that even the
'concept' of computing is dissolving, partly out of
ignorance, partly out of deliberate concealment, and
partly out of the fact that its complexity has grown
while the accessibility to core content for nontechnicians 
has shrunk. But when we are going to honor, as we
must, the growth of human understanding and responsible
citizenship and entertaining and fantastic societies, 
then we must take care of the whole question of 
insight into the technologies we take for granted in
our daily lives; and in this vision, also, we see that
G15 PMN has a role, both practically and as instrument
to protect the first-hand understanding of what 
computers are. But, philosophically, what are computers
in the larger worldview? And how do we design what we
design inside and also by means of these computers, as
influenced by means of the assumptions in these world-
views? All these things are part of the living context
of human mind within which computing unfolds. And this
context is here hinted at--and, here and there,  
slightly elaborated on.
  Let me also comment on one feature: there's no end
to the programmers who are also fascinated by porn:
but most of them seems to have a 'split' mind: never
doing both at the same time. Let me call for a new 
type of technicians, consumed with the artistic beauty
of the young female form while also working on the
artistic beauty of programs about to take form. Such
mind-bridging is near the heart of G15 PMN. And this
is part of what I think 'responsible' means, when
connected to 'citizenship': not not split parts of
human living but rather let them harmoniously speak
to each other. 

This vocabulary doesn't try to hide the fact that the
technical and user-friendly application programming
language G15 PC has been created as part of an also
artistic and philosophical set of activities. I leave it
up to the reader of the vocabulary to keep in mind to
what category the words belong--whether it be programming,
scifi, art, philosophy, science or other. In one way or
another, you'll all meet these words, at least, when
engaging with the G15 PMN products in any serious manner,
over some time, so it's worth the while to have such an
overview (however incomplete it is). --AT

PS Done March 24 2016 during some hours with B9edit
typewriter. There are spelling variations, and when
reading it later I'm sure to see all sorts of things that
could be done to improve it but, now that you know this,
I have a hope you'll put up with it as it is. :-)
Any changes later on? I doubt it, but still those would in
case be listed at the completing line. I like texts to
have a soul, which often is more real in their firstness;
esp. when we speak prose rather than comedy writing or
programming, where revising of drafts several times over
typically are required.

PPS By all means give it to others if you like but keep it
whole and unchanged and without additions and in a
respectful context--the usual criterion for redistribution
of self-written texts.

**********************************************************

SOME PMN VOCABULARY

*anaiis blondin* a scifi character, created after mt {see
it}, in 2008, first in an early text form, in which she
roams a 'galactic city' called Gracejintu in which
computers are tied up in what was there called (and later
on used for real in our Avenuege G15 PC network concept)
Stellar Craftnet {see it}; with some affinity to the
three top muses {see it}. The Anaiis Blondin program with
game-like components drawn in Curveart {see it} follows
up in a lively and easy-going and fun way, while the Dasha
and Kim {see it} scifi writings permit a more book-like
scifi explorations of much the same type of themes; both
have a component of them in the core G15 PMN platform and
are followed up by apps {see it}.

*app* A G15 PMN app is a set of programs and/or data
gathered on the H-disk and, optionally, some more of the
free disks of the G15 PMN platform (the C, D, E and G
have core program content on them, while F, I, J, K and
L are generally free, the L often used during access of
hardware such as in the Firth {see it} extensions). This
is created by means of the MNT command in the core G15
PMN platform and associated with seven digits, so that
these seven digits are unique within a net site listing
apps although they don't strictly speaking have to be
unique across app sites. In an app, the H:1 card plays the
role of the organising menu, while the H:10 shows disk use
and so this is the minimum size of an app. The Third
Foundation {see it} is a particularly important general
app as it's also a vehicle for making more apps, including
of the FCM {see it} type.

*ascii* ascii characters are eight bit {see it} but so
that, in the standard form, only those with a number from
32 to 126 are used for visible characters including digits
and letters in the English alphabet abcdefghijklmnoprstuvw
xyz, and uppercase also, with a small but complete set of
extra typewriter characters such as ~`'/|<>&# and such;
and with some socalled 'control characters' between 0 and
31, notably 10 for lineshift and 8 for backspace. It has
been found to be superbly fruitful in all computing.

*assembly* In G15 PC, we have the G15 assembly {see it};
the word refers to a language that is as near to the core
numbers and their bits as possible so that a CPU {see it}
can be programmed to perform its core stuff and so that,
by assembly programming work, we can erect the higher
levels, which in the G15 PC case is the G15 PMN language.
A convenient way to think of assembly language is that it
is almost, but not quite, consisting of nothing but a
series of numbers that directly instruct the electronics.
In order to 'assemble' an assembly programs the bits that
aren't numbers are put into numbers. Of course, the G15
CPU {see it} is particularly elegant and minimalistic in
its design. The preferred approach to program new
applications is by means of G15 PMN where names of
functions rather than numbers are more in focus, and where
the Third Foundation {see it} is the starting-point. For
some technical applications it's good to know G15 assembly
so as to give extra speed and such to a PMN program.

*atomlight* Educational study, alongside Elsketch {see it}
(which focusses on electronics) of the chemical elements,
atoms and molecules, that composes the manifest world.

*athina salinger* in mt {see it} Athina Salinger is one of
the three top muses {see it} and this is the case in all
later works by same author also of philosophical nature.

*avenuege g15 pc* Our PC {see it} concept when woven
around intraplates {see it} and our G15 CPU {see it}. This
is a CPU {see it} which is friendly towards hobby
computing in that it isn't simply a premanufactured
secret of a giant, secret chip foundry belonging to a
secretive company having little of the austerity in them
that is required to make a scientifically elegant CPU.
The Avenuege G15 PC is rather made out of intraplates,
so that microscopic components such as transistors and
capacitors and resistors aren't prewired but simply
available--through bundles of wires (and such) that go
from them, rather than merely accessing a prewired setup
of millions of them as in the Intel/AMD case. The Avenuege
G15 PC is also allowing its own kind of hardware and
robotic devices so as to serve the artist.

*b9font* the b9font, also called the b9edit font, or used
"b9", pronounced as the word "benign", is a middle-thing
between classical typewritten courier font and handwriting
with emphasis on certain sensible contrasts not only in
between digits {which are consistently in italic, or a
slanted font} and the letters, but also, as in the case
also with our robotfont {see it}, in between such as the
letters "i" and the lowercase for of "L" as "l"--again in
contrast to the digit "1"; the b9 editor is a G15 PMN
program written which makes use also of this font, that
from the earlier form of Firth {see it}.

*b9edit* see b9font

*b9edit format* means that text lines have a lineshift
character of the ascii {see it} 10 type; this "b9edit
style lineshift" is in contrast to text typed directly
into the cards via the card editor {see it} and in some
cases can be used for databases to story very varying
lengths of texts, also going beyond the text width
associated with the classical b9edit editor of 58; cfr
also how this is quantum touched {see it}.

*berkeleyan worldview* In the 18th century the bishop and
philosopher George Berkeley suggested that God creates the
world by analogy with how we dream worlds up at night, and
in a generalised form, we can call this type of view for a
'berkeleyan worldview'. This has, of course, roots in
many world mythologies and religions, not in the least in
Indian thought.
  However, in human dreams, things that should be 'hard'
may often be found to be 'soft', while in this world,
stuff is typically more durable than in any human dream.
This suggests some of the limits of the analogy. For such
a worldview to make sense, one must assume that, while the
universe may be a conscious wakeful visualisation of God,
it also has levels in which something very computer-like
organises the fundamental rhythms and properties of many
of its elements. In other words, the berkelean worldview
makes more sense if God day-dreams computers before going
on to visualize bodies and water and stones and such,
rather letting the latter be a more explicit feature of
orders of what we can call more implicate, to use a notion
of Bohm {see it}.
  It should be of interest to the enlightened reader that
mostly any worldview whatsoever can be twisted to be made
compatible with a berkeleyan worldview. All it takes is a
willingness to assume that there are hidden levels to
reality, and that reality emerges out of a deeper reality.
  In the supermodel theory {see it}, we were concerned
first and foremost with how a form of 'active models'
relate to one another in a vaguely 'mindlike' way so that
quantum phenomena and also gravitation phenomena may be
seen to arise coherently from a set of ideas that make
sense independent and also as one whole. But then, having
clarified this level, it became natural to see how it can
be all be seen to be flowing from a deeper level of the
kind we can associate with the berkeleyan worldview.

*bohm* The thinker and physicist David Bohm authored the
Implicate Order concept in which the universe is said to
be an unfolding order, or an Explicate Order, in each
moment being something that arises from a much vaster
oceanic order called the Implicate Order. This is
compatible not only with his own interpretation of
quantum theory, which he developed after meetings with
Albert Einstein (a theory however not accepted by him),
but also with several other interpretations of quantum
and relativity physics and indeed also, informally, with
a number of worldviews.
  Earlier in his career, Bohm put forth an alternative set
of formal results for quantum theory and these led to a
strand of interpretation called by some 'boehmian
mechanics'. This was helped by J S Bell who in the 1960s,
a decade or more after Bohm's first articles on this,
analyzed his works so as to produce a theoretical notion
of nonlocality, a feature demonstrated in laboratory in a
series of experiments by A Aspect in the 1970s.
  However, and very interestingly, a far more elegant set
of formal expressions and ideas--more easy to visualize--
and without a clumsy division of the world into a 'causal'
part and a 'quantum potential part'--was made by Louis de
Broglie when de Broglie merged the ideas he had of a pilot
wave interpretation of quantum phenomena as a youth with
about half of the content in the aforementioned articles
by Bohm. While some people regard this as just more of the
same kind of thing that Bohm worked on--even going as far
as to speak of 'de Broglie/Bohm' theory--it is a different
approach with unique challenges. These challenges include
a necessary rethinking of the possibility of the photon,
the imagined particle of light, in fact having a weight
which, however, approximates to zero--requiring a rethink
both of some of the notions of the 'limitless' and of the
'infinitesimal' that are implicit in the formalisms used
by these thinkers. Bohm, together with B Hiley and others,
sought to meet the challenges to his own branch of
ontological or 'realistic' interpretation of quantum
theory but few people in the 20th century worked onwards
with what the Nobel laurate Louis de Broglie came up with
some thirty years after his essential contributions to the
core of bohrian quantum theory. What we can call the
'nonlocal pilot wave interpretation' is however part of
the starting-point for the supermodel theory. This is
an exciting worldview and there's nothing in G15 PMN that
opposes it; rather, we can say that G15 PMN is a formalism
in which it is particularly easy to express insights of
a relevant nature.

*brouwer* The dutch logician L E J Brouwer was one of the
few well-published thinkers of standing in 20th century
science who challenged some features of some of the
socalled 'proofs' that had led to a support of the
reductive (and, in practise, mechanistic and atheistic)
approaches to the concept of infinity. The approach of
Brouwer was to challenge some forms of use of negation and
to call for clearer ideas in logical thinking on numbers.
However, few seemed to understand him clearly and perhaps
it can be argued that his works were eccentric in some
regards; the 'golden bits' of his ideas have been expanded
strongly and in ways transcending Brouwer completely in
papers connected to our infinity works also listed as
the standard core set of papers at intraplates.com.

*card* see card editor

*card editor* cards with linelength 29 and sum total
characters of 232, which however each can be 32-bit. This
is also what we call a quantum-touched {see it} approach.
The card editor, a structure shaped in G15 as part of
its bold and beautiful design processes, is the chief way
of viewing the disks {see it}. It has control keys such
as CTR-W to switch on menu mode, which is left by right-
clicking the mouse {see it}, CTR-R to position in the
middle column used in PMN programming, CTR-A to assemble
programs, CTR-X to run the most recent assembled program,
CTR-L to load a new card and CTR-S to save this one after
editor. It is one of the key marks of G15 PMN platform
that it invites changes at all coherent points and gives
the human interactor a sense of participation at once,
for instance also by starting the G15 menu in the Edit
mode so that one can, if one likes, overwrite even the
main menu at once, as one of the first things one does.
The card editor is started by command CAR and it is quit
when one wants to do ART, MNT of an app {see it}, SPR, a
simple 'city-like' screensaver, or REB for reboot. The
REB is often used during programming to refresh RAM {see
it}.

*cpu* Central Processing Unit, or CPU for short, is the
core element in any PC {see it}, a set of electronics
components so as to be able to an assembly language {see
it} when first rendered into numerical form--into bits
of 1s and 0s, ones and zeroes, that very roughly
correspond to volt levels. In a PC we also have RAM {see
it}, keyboard {see it}, display {see it}, keyboard {see
it}, disks {see it}, and mouse {see it}, and the CPU is
regulating all these devices and has its own computer
clock.

*curveart* In contrast to the gem image format {see it},
where 220 cards are required to store a 500x500 image
of greentones {see it}, the inbuild Curveart program,
started by command ART inside the starting-up of the
G15 PMN platform, permits a lovely consistent way of
drawing eg cartoon-art elements for games and other
relevant graphics by means of some sizes of visible
pixels in a mind-stimlating rasterized way, and stored
over a mere 35 cards even though the size of each is
over a large portion of the 1024x768 screen. The Anaiis
Blondin {see it} cartoon-art program with game-elements
are drawn in this way.
  It's part of artistic capacity to have the insight that
an expression should have a consistent, and limited, set
of means during its expression. A dance should happen on
a stage, writing uses words, and a drawing uses a set of
drawing tools. By keeping this set of tools to a minimum,
a meaningful minimum, attention goes to content; the mind
sees for instance the pixel-choice as a kind of 'font' and
focusses more on what is said via the font than on the
font itself. The Curveart drawing tool encourages the
capacity to draw and the results can be highly stimulating
as well as entertaining, as also the Anaiis Blondin {see
it} curveart cartoon stories with game-like elements show.

*cyclic calendar* The numbers aren't all equally
psychologically meaningful, and a cyclic calendar where
years are repeated, eg in the proposed 2006 to 2024
manner of 18 years, the exceptional beauty and clarity of
the numbers associated with these years--'twenty' and
then a number which is under or near twenty--one can then,
just as with the cyclic notion of weeks, beginning on
sunday again and again after 7 days,--take the same
approach with regard to a year-calendar. However, one must
then clarify which cycle one is in and so one must give
the cycles a tag, eg a number. This is compatible with the
calendar as included in the G15 PMN platform (although
this calendar doesn't strictly enforce it).

*dasha and kim* In prolongation of the early Firth MT {see
it} scifi works,--at least in prolongation of some of the
features of this scifi--a new scifi series was created
with the G15 PMN platform, followed up in the apps. This
is related to the more visual Anaiis Blondin {see it}
cartoonish story with game-like elements. Both continue
indefinitely and are always released as free apps.

*de broglie* In the variation of his earlier works, the
famous physicist Louis de Broglie managed, in the 1950s,
to use a portion of the work by David Bohm to get his
socalled Pilot Wave interpretation of quantum physics up
on a consistent and no longer self-contradictory platform,
speaking in terms of equations. This was achieved by
treating, as Bohm early in the 1950s did, the observing
apparatus as itself a quantum phenomenon subject to the
same type of that which after the works of the 1960s
physicist J S Bell was called 'nonlocal' features. However
some of the implications of de Broglie's view on reality
means that the conflict between some of the assumptions
inside the 20th century mainstream quantum theory as
emphasized by Niels Bohr and the assumptions in Einstein's
treatment of gravitation and, in it, also light, become
more evident. As such, this new and significant work by
Louis de Broglie was not given the attention it deserves;
we are, in the supermodel theory {see it}, undertaking to
revise the set of assumptions in both the einsteinian
and the quantum branches of physics by trusting that Louis
de Broglie got some key points entirely right.

*disk* In G15 PMN, letters from A to L and sometimes by
means of the corresponding numbers 1 to 12 designate the
standard set of disks. In mounting an app {see it}, some
of the disks temporarily shift significance. A physical
PC may have several sets of disks that one can shift
between, each with a G15 PMN platform configured in
perhaps different way--for instance, on in which the
Third Foundation {see it} is on permanent disks instead of
having to be mounted by its app number 3,333,333 each
time. The C to L disks are visible in the platform while A
and B contains the core content of fonts and underlaying
G15 assembly to get such as the card editor {see it} up
and running for the whole platform to work. The C, D, E
and G disk have content already, but each can be further
used for own data and programs. The cards goes from 1 to
about 2 million and are sometimes referred to by means of
disk letter first and then a colon and then the number.
When this colon is replaced by an upward-and-to-the-right
pointing arrow or flower-like symbol, which is used in
G15 PMN fonts instead of the "0/0"-like "percent" symbol,
(in G15 PMN we instead advice the idea of "permille" {see
it, without having any particular symbol of it, in order
to do 'stimulation, not simulation' {see it}), then, in
the card editor (in menu mode, after CTR-W has been
clicked), the mouse {see it} pointer device can start any
G15 PMN program by a single click. G:15 is for the menu,
reached by the HOME function key. PgDn and PgUp scrolls.
  Physically, a disk may be realised such as by any of the
classical magnetic mediums--a kind of plastic-like band
to which something like iron powder is distributed very
finely, for magnetic patterns to be implanted and changed
and read out--to other mediums, some of which approach how
RAM can be implemented by means of electronical components
while, at the other spectrum, entirely different physical
mediums, some faster and some slower, some more stable and
others more unstable. For truly long-term storage of data
one may wish to produce a physical imprint on something
that can then be scanned and recoded--this can even be
paper, wood or, for even greater duration, something like
a metal like steel.

*display* In G15 PMN, which is 'quantum-touched' {see it},
a display is 1024 * 768 pixels of up to 64 tones of green
from black to bright green, in a 4 x 3 format considering
width times height, a professional and mind-stimulating
format, also compatible with GEM image format {see it},
Curveart {see it} work, B9edit {see it} typewriting work,
and indeed all that a PC {see it} should be, when
conceived of in a 'stimulation not simulation' {see it}
method.

*eight bit* compare thirty-two bit {see it}. If you make
numbers like 00, 01, 10, and 11, you are using two bits.
If you make 000, 001, 010, 011, 100, 101, 110, and 111
you are using three. So, by example, you'll understand
that eight bit numbers are like 10101111 and 10001001,
and there are 256 such variations, 2x2x2x2x2x2x2x2.
  This is not all that terribly difficult to make in
terms of electronics, where '0' and '1' can be given an
interpretation eg in terms of volt.
  Eight bits make up one byte. Four bytes make up a 32-bit
number. These numbers can go up to a billion and more and
are often used in G15 PMN programming. However to keep a
typewriter keyboard mapped we need much less than 256
characters and so texts are sometimes understood to be, or
even packed (4 bytes to eight big number, or 32-bit num),
of a 8-bit kind. In fact, they are more like 7-bit, in the
case of Ascii {see it}, though it's easier to work with
even numbers, especially direct multiplies of two, and so
'8-bit' and 'text' is often used interchangably in
programming.

*elsketch* Electronics, both for radio and, in a higher
level, digitally (in this case, connected to intraplates
{see it}).

*fcm* first-hand computerised mentality. This is part of
the approach called 'stimulation not simulation' {see it},
and part of the philosophy of first-hand programming {see
it}. A comedian expresses humour by means of such as a
written text; the humour is evidence of mind, but we do
assume that it takes a mind to 'read off' the humour and
we never in any way speak of such texts as 'simulating'
humour nor containing any element of 'artificial' humour
even though the printed text is technically an 'artefact'.
Armed with infinity {see it} insights and goedelian
insights {see it}, we see it as laughable, low-brain and
low-class, not to say tacky and in bad taste, to ever
speak of anything remotely similar to 'artificial
intelligence' in positive terms. Rather, we want programs
to express something of the mentality of the programmers
in a first-hand way and FCM, as part of the Third
Foundation platform in the sense of an advanced approach
and with a formal 'skeleton' as a PMN loop called
'translucent' in it, is our answer to the quest of
programming instruments such as robots meant to operate in
contexts of somewhat fuzzy input and/or output data and/or
with somewhat ambigious top priorities.
  Can also be used for some forms of eg board games.

*fdb* Flexible Data Base, or FDB for short, is part of the
notion of using mechanisms for turning text-bits into
half-unruly numbers called 'hashes' in the core G15 PMN
platform. This can be used for such as customer databases
or keyword searching. The flexible part of it is that you
have the full power of G15 PMN with you when you do such
FDB programming, instead of having to learn a specific
'database script language' or such.

*firth* any of our specific hardware-like features of the
G15 PMN computers or their networking beyond the core set
functions composing the G15 PMN programming language; the
earliest use connected to the environment we set up around
the earlier form of the programming language, including
the scifi texts there called 'MT' {see it}, before the
conception of the G15 CPU {see it}; eventually it became
a general reference to our wider works with hardware that
is tailormade to serve G15 CPU incl the Avenuege G15 PC
{see it}; one of the earliest uses includes the name of
our language as a variation of the word "forth" (a
language that provided some important stack-based features
that we further developed); in dialects of english it may
refer to source of a river or of a stream or a firwood;
in its first form, including the mt and before the G15
CPU concept were produced, it included the B9font {see it}
and the notion of first-hand programming {see it} (then
called, usually, "first-hand relationship to data"; and
its first and final version at that time was April 10th,
2006, 10 o'clock A.M., a time later on used in the idea of
a cyclic calendar {see it}; the berkeleyan worldview {see
it} melted with the supermodel theory concepts during the
production of this early firth. Inside the G15 PMN
Yoga6dorg asssembly core 'firth' is used to refer to
such extensions to the core, eg as regards file transfer
with other computers or other electronics, as require a
particular Personal Computer such as the Avenuege G15 PC
or a particularly configured PC somehow.

*first-hand programming* this was, in the earliest Firth
{see it} forms of our languages, called, also, 'first-
hand relationship to data'. It refers to such poetic
phrases (eg by Jiddu Krishnamurti) as 'to have a
first-hand mind'. It means direct perception is a
priority rather than foggy or statistical second-hand
relationship to the data and to the structures of our
programs. It means a quantum-touched {see it} approach
where we deny overdone efficiency focus when it goes
against deeper priorities. It means that we put humans and
the living natural human self-stimulating mind first, also
when we do robots {see it} with FCM {see it}.

*g15 assenbly language*, also called Yoga6dorg, is a set o
about 240 elementary Central Processing Unit instructions,
for a PC designed from the transistor / binary gate level
and up without relying on earlier types of CPUs; the G15
CPU is moreoever not assumed to be of a 'microchip' kind,
but rather have a design that relies on our notion of
intraplates {see it}; it goes along with its own way of
handling the essential components of the personal
computer, including dividing the disk up in 'cards',
displaying the cards in its own robotfont {see it}, and
emphasizing the psychological significant of thirty-two
bit {see it} and just-in time or jit {see it} compilation;
the G15 PMN language arose as a desire to have a pleasant
high-level and interactive language that, while coherently
near the G15 assembly, could be suitable for beginners as
well as for high-level complex application writing; G15
assembly is however understood to be part of what high-
level work in G15 PMN is all about and in a certain sense
it may be said that G15 PMN "is" G15 assembly work (eg,
the PMN part is compiled jit right before a PMN program is
--in its turn--compiled, as one flowing process).

*g15 cpu* The intraplates {see it} CPU {see it} made so
that the cirka 240 G15 assembly instructions as core of
G15 PMN {see it} can be flawlessly performed directly at
the electronical level.

*g15 pmn* The language PMN, or Primary Multiverse Noetics,
grew out of the G15 Yoga6dorg assembly language idea of
about 240 very clear and, for the most part, rather
minimal instructions made so that they should be fairly
easy to implement directly at the electronical level by
advanced use of Elsketch {see it} via an approach to the
digital we call intraplates {see it}.
  The 'noetics' term refers to 'science of mind', to
emphasize the mindfulness of G15 PMN.

*gem* the G15 GEM Image Editor is, in addition to the
B9edit {see it}, one of the two largest applications
inside the G15 PMN platform; it uses the Gem Image
Format {see it}. The idea here is that the graphics
output from a camera, or as produced by a program, is
here to be worked on in a first-hand nonmanipulative way,
not to conceal or 'imitate' reality but so as to get the
best of the photo to come forth.

*gem image format* The 500x500 greentone {see it} image
format that can be stored over a mere 220 cards, and which
is quickly and effortlessly showed by small G15 assembly
programs, including the photoviewer inside the G15 PMN
core platform and of course by several words inside the
PMN language; for Curveart {see it} drawings merely some
35 cards are needed, even these are generally shown over
a larger part of the display. To put what 500x500 is, in
perspective: by something like 100x150 pixels one can get
a good glimpse of what a photo is all about--this is, in
comparison, called, sometimes a 'thumbnail' image. This is
more than three times in one direction and more than five
times the other direction, and in an "unpolluted" screen
display where attention goes to the image, then, given the
smoothness that 32, or better, 64 tones of monochrome
permits, a tremendous clarity, richness of detail, and
sense of the beauty and detailed contained of a photo is
possible.

*goedelian insights* The Goedelian Insights, as we may
call them, since Kurt Goedel evolved them late in the
1920s, can be summed up by the insight that machines
cannot approach the infinity of perception or intellgence.
This can be argued for as Kurt Goedel did, but since his
time there are a number of new ways to argue for the same
and even to strengthen his argument. In our treatment of
infinity {see it}, we provide proofs or insights that go
even deeper but which have an artistic similarity to the
work that Goedel did. Kurt Goedel's work led rather
directly to the foundations of computer science by later
developments in the 20th century after him.

*god* No philosophy is complete without talking, at
least, of the concept of God, in some form or other; and
as we have outlined several forms of philosophical
concepts here, and also introduced scientific themes, we
should also include this concept. Scientifically, what is
available in this empirical reality for investigation
is, clearly, just a surface scratch of the manifest
universe. One cannot draw a conclusion from such 'scratch
investigations' as to what exists or do not exist on the
question of the fountainhead. In other words, there is no
element of absurdity in believing in God and also
engaging in logic, reason, rationality, and that can
include both conventional and neopopperian {see it} forms
of enquiry into reality.
  Speaking in terms of pure logic, something like a
berkeleyan worldview {see it}, is compatible with any
form that this world may take. So neither by empirical
investigation nor by logical investigation can a faith in
the reality of God, in some form, in the slightest be said
to be absurd. Absurdities only arise when those who stick
to a particular bible text assert things about reality in
denial of that which is evident enough, although care must
be taken to consider that when that which is evident is
perceived with our minds, interpretations can be subtly
biased by assumptions that we aren't much aware of at the
time.
  The legendary character of Gothama the Buddha, predating
Christ by several centuries, seemed to have favoured the
notion of intuitive enquiry into deeper realities. He
also seemed to have welcomed doubt in some parts of his
teachings should one come to clarities that he hadn't come
to. (Indeed, it might be said, the Christ character had a
resonance with something of both the Socrates, the
Krishna, the Lao Tse character and the Buddha character,
in that these all were echoing something of that which
christians later thought of as a 'personal God' type of
myth. None of these, in contrast to the Hebrew doctrines
of Moses, the hero of the culture of judaism, were very
much political in the general radiance. Further, inasmuch
as these characters became an image of a personal God to
a fair amount of people, the God that Moses speaks about
is in contrast a distant and typically tyrannic type,
not directly inspiring a nonpolitical religious faith of
anything like a christian 'All-Father' God, unlike all
the other world religions.) Anyway, Gothama wasn't
proclaiming himself to be God, but even so one finds that
most indian faiths and most buddhist faiths are easily
intrigued by the Christ-as-God character. The strongest
form of identity of this type is found in the early
coptic (egyptic and ethiopian) forms of Christianity, in
which the flesh of Christ is imagined to be identical with
the divine and thus not merely as manifest humans. This
is in contrast to the view that Christ was a human who was
a 'vehicle' of the divine.
  As for the nature of God, whatever names we give to this
concept, it can be said that due to the immense complexity
of manifest reality and what appears to be its past is
such that if God and his supreme beings are actively and
personally engaged and present they are good at hiding it.
For it is fairly easy to find many causal-looking features
of reality and also to imagine that much is an effect of
what C Darwin and others regarded as pure coincidence, and
random mutations without a design. Certainly, there's much
stuff in reality that any of the ancient bible texts say
finely little about, unless we very intensely twist their
interpretations.
  Only a person able to hold both intuition and logic side
by side without one feature leading to the exclusion of
the other can go deeply into these matters. In meditation,
something by analogy of what we employ when we engage in
logical perceptions over questions associated with numbers
and infinity {see it}, may be the only instrument that an
individual for sure can use to ascertain, personally,
whether the God concepts in some form or another--perhaps
the personal, christian God-concept in a way--does refer
to a subtle reality or not.
  Glimpses of such perceptions we can call 'elements of
enlightenment'. This may be a more fruitful way to use the
word 'enlightenment' than by referring to a phase in the
history of Europe when mechanical ingenuity came to the
fore, alongside a dose of sceptisism about the divine.
  However it can be said that, in afterthought, it's a
good thing that technology has been unfolded this much,
rather than, say, things having been fixed at a steam age
condition before the advent of electricity--and that it's
likely that a phase with an 'overdose of atheism' was just
what it took to get technology quickly developed.
  Furthermore, as we also point out in any enquiry dealing
with the infinity concept, it may be that the human mind
and brain, with all their finesses, are capable only of
harnessing and reaching glimpses of insights into such
lofty percepts without getting 'burned up' in the ecstasy
of the insight or the complications of 'infinite self-
reference of consciousness or soul' or such: and that,
therefore, any such enquiry should proceed with caution
and that adequate alternation with entirely other forms
of activity should take place to give mind a peace from
the intensity of it all.

*greentone* the approach of the 'stimulation not
simulation' {see it} characterising all of G15 PMN
involves seeing the Personal Computer as a way to
stimulate the human mind rather than confuse it by any
overdoing of imitation of reality. There is a solid
quantity of research that shows that while such as TV
or video images may reduce the intellectual capacity of
the brain, by flooding it with images that have a sense
of movement about them as an illusion created by the
quick succession, stimuli is achieved by a 'less is more'
approach. The fewer fonts on a page, the more the text
can come forth; the fewer variations of color on a photo,
the more the shapes themselves and the lights and play of
shadows and so on can be seen. However, in selecting for
a monochrome approach to photo, which is artistically
salient, one must take care to select bright green towards
black as conducive to harmony while not imposing its own
interpretations. For instance, most other colors suggest
either too much heat, too much metal, or too much coldness
and studies have shown that bright green is stimulating
for computer use like no other color, both textually and
graphically. However it takes getting used to.

*helena salinger* in mt {see it} Helena Salinger is one of
the three top muses {see it} and this is the case in all
later works by same author also of philosophical nature.

*high-powered pmn* high-powered pmn terminal, also called,
sometimes, hipow or hi-pow, is a fairly general term
encompassing just about any form of G15 PMN that has in
it more than the core G15 PMN predefined or pd {see it}
functions. It is also the name of one particular set of
developments inside the core G15 PMN platform. This is
further expanded inside some of the applications inside
the same, such as the Calendar and Good Time programs,
GEM {see it} and more. All this is brought together as
one package in the Second Foundation G15 PMN {see it},
with still more added to make a particularly suitable
whole for all future advanced G15 PMN work and also for
learning G15 PMN (since it is practical and easy)
called Third Foundation G15 PMN {see it}.

*hipow* see high-powered pmn

*impressionism* What we in the 21st century might mean, as
artists, by impressionism is that which is neither an
attempt to emulate or simulate reality or photos nor a
complete liberation from the wish to relate to reality;
but rather such paint-like sketching that fits the para-
digm of 'stimulation not simulation' {see it}, eg with
ranges of bluetones where somehow a warmth do come through
with hints of other colors like violet and a focus is on
light and the beauty of the 3 muses as perennial art.

*infinity* The clear idea of the infinite goes beyond
merely the idea of denying a limit. This idea may perhaps
more coherently be said to be a family of ideas. The
exploration of this concept has proved to require an
exceptional care, as eg goedelian insights {see it} show,
and which such as Brouwer {see it} sought to point out in
some ways. However, without adequate care into the
relationship to this concept how can one relate in a
meaningful first-hand way to any key concept of human
living such as mind and intelligence and feeling? In what
we call the quantum-touched {see it} way, we are learning
also from studies of supermodel theory {see it} phenomena
in which the interplay between the finite and the infinite
gives rise to unique characteristics in each case. Indeed,
much of the quantum features of reality come from just
such an interplay, one can argue. However, in the 20th
century, with roots in work by logicians in the 19th
century and earlier, it seems as such caution as Brouwer
wanted to have as for treatments of infinity wasn't in
place at all. Instead of taking the goedelian insights
seriously as an indication that something has gone wrong
the whole approach of that which is called 'mathematics',
a general attitude of ignoring the results as merely a
'problem of formalisms' was preferred. This careless
handling of questions led to a general propaganda around
imagined meaningful concepts such as the set N of 'natural
numbers' so that this set has all finite and only finite
numbers but without any upper finite limit--an idea that
doesn't come through as a clear idea when careful thought
is put into how such a set in fact is constituted.
  This sort of 'infinity proof' we put into the works
preceeding that of the first Firth works, and they imply,
as a general philosophical result, that the finite is more
of a question than the infinite; that the infinite in many
ways is exactly what mind is, and that the finite must be
constructed in this 'oceanic' view of the foundations--
instead of as in quick, shallow (and atheistic) thought,
being something that can rashly be assumed to be the
starting-point and that 'the infinite' can merely be
treated formally through such ideas as 'as far as we
please'. This 'tranquiliser philosophy' of mathematics
matched with superficial engineering attitudes to physics
of the very same type that looked away at the incoherency
implanted in the division between gravitation physics by
Einstein, where nonlocality {see it} is denied, and the
quantum theory by Niels Bohr, Werner Heisenberg, Erwin
Schroedinger, with elements from the young de Broglie and
drawing on earlier results by Max Planck and Einstein and
others, where nonlocality is, as J S Bell showed in the
1960s, always implied, in one form or another. But this
also meant that all purely formal ideas of bridging
the 'quantum' and the 'gravitation' aspects in mainstream
science lacked the coherence of ideas sought for by
Einstein in the foundation, and lacked also the insight
into just how challenging to einsteinian ideas of space-
time that nonlocality is, insights that such as the Bohm
and de Broglie, in his later years, each in their own and
not overlapping ways sought to further.
  The second-hand nature of a science that doesn't take
the infinity concept seriously but rather as a token in
a dry formalism eventually led to a rather full divorce
of science from philosophy in the mainstream idea of it in
the 21st century. All this led, in turn, to a sense in
which the underlaying quality of coherence of ideas in
science had been put aside in favour of a frenetic
orientation to publish 'useful' (but, as it often turns
out, not very correct) results in vast, thick journals
belonging to a scientific establishment founded for a
large part by international corporations.
  An answer to this is the type of caution, more or less,
that Brouwer sought to bring in, and that implies that we
must go back to the foundations and ask the first
philosophical questions again--including about infinity,
first and foremost--and then very slowly and carefully
find out what we can bring in of modern scientific results
a kind that really makes sense and can be found to be
correct. This, indeed, is the neopopperian approach. It
also means that we don't see science as much as profession
as rather a set of insights and an attitude of quality
characterised by a deep love of reality beyond theory,
with awareness of the dangers of hidden assumptions.
  Enquiries into the infinity, into god {see it}, and so
on ought to be done with great care: some minutes at a
time, or perhaps half an hour, and then other activities
must come in so as to take pressure of the mind. Not few
of the greatest logician in the 20th century who dealt
much with the infinity concept got a bit affected by their
enquiries (ie, got a bit "dotty", as P.G.Wodehouse would
perhaps have expressed it). For instance, Brouwer got
obsessed with silly risks, Goedel began calculating the
'weight of souls', while Bohm had his turns with electric
shocks due to 'energy in the head' right before his death.

*intraplate* A computer in the 20th century was, before
the late 1970s, made typically by means of some form of
'valve'-like electronical component, first vacuum electron
tubes, then, with somewhat more compact size but still
requiring houses just for a tiny bit computing, the same
type of transistors as one can make radio receivers and
transmitters of in eg Elsketch {see it}. After the late
1970s, microscopic transistors imprinted first in the
thousands, then in quantities of many millions on sizes
such as a fingernail, became the 'chip'-approach to
computing, greatly increasing computer power while also
leading to as small computers as one could please. The
side-effect of this socalled 'integrated chip' or
'microchip' technological revolution was to give the whole
design capability of computers as for their CPUs entirely
over to militarily controlled foundry factories upon which
the rest of the world had to depend for their computing
activity. This not only led to a second-hand approach to
computing for by far most, but also to a gradual withering
away of the premise of elegant design in the core. Instead
we got a gradually more and more complicated CPU core with
--long into the 21st century--such as automatic routines
built into the core to check if arrays looped over are
sorted and, if so, some parallel processing automatically
sets in without control over this given to the programmers
--except, perhaps, those who have access to documents,
some classified as military secrets, as to how to impose
extra controls over the fundamental electronics in these
commercial CPUs.
  The intraplates {see it} approach to CPU that we have
evolved with regard to the Avenuege G15 PC {see it} is
a genuine alternative where hardware is thought through
far more coherently and consistently and with a first-hand
flavour coming forth also in how the CPU is made; with the
possibilities of making elements of just such a CPU even
on the premise of hobby electronics.
  Nonetheless, the speeds and, after all, relative robust-
ness of the microchips enabled the creation of virtual CPU
levels by means of suitable programming near the assembly
level so as to enable G15 PC to be performed virtually on
top such as a Linux on an Intel or AMD chip of these kinds
--and in that way providing a bridge over to such more
perfect hardware as Avenuege G15 PC.
  The intraplate concept, then, is the notion of a plate
with a set of potential connections inside this plate,
so that by configuring these connections, the plate,
perhaps together with a set of other plates, can do tasks
which otherwise would have required microchips with
prefabricated designs of millions of transistors. These
potential connections may be provided to the hobby
electronics, or elsketch {see it}, student, as a set of
wires to be connected and disconnected so as to effect
certain designs. At the level of professional G15 CPU PC
connection, however, we seek such speeds--CPU frequencies
--that require somewhat shorter wires and a moderate
degree of prewiring however only at a general level; but
also, to make the complete CPU, so much of it that it is
only practical to produce by means of letting robots take
a hand with it. There is however just a question of
degree of condensation of the intraplate from the level
of the intraplate for hobby use and the intraplate that is
part of professional G15 CPUs. It's open hardware in a way
microchips never can be; learning both from the microchip
foundry approaches and from the transistor factories to
create open hardware intraplates foundries to accomodate
a more clear-cut genuinely personal computer that isn't
full of unelegant (though fast) steam-age thoughts such as
are implanted into the i386 chip design and their later
de-evolutions into such as 64-bit AMD.
  The G15 CPU design is for human psychology, to be free,
to unfold well, to do great and beautiful work, both
in the business mode and artistically, and so its design
isn't configured according to rediculous market trends.

*jit* jit is an acronym for Just In Time compilation and
means that a fast compiler {see it} is able to convert the
more textual code into a more performable binary form
right before this code is needed each time instead of
having to rely on a compilation done at an earlier time;
the chief advantage of jit over pre-compilation is that
the RAM {see it} of the PC as it is when the program is to
be run is more a known fact rather than something that has
to be anticipated by various schemes and so the source
program is more likely to be overall compatible with a
variety of computer setups when oriented towards this
style of compilation, as is the case with G15 PMN and
indeed any Yoga6dorg G15 program, generally speaking.
  In contrast, such an operating system--which in some
senses of the word really is a general type of programming
language--such as Linux uses an idea of 'relocation' at
its core. This provides some flexibility but at the
expense of making the machine code even more messy than it
would otherwise have to be to accomodate the Intel/AMD
type of chips, from i386 and onwards to their later chips,
--and the flexibility is never as rich as with the G15
type of JIT.

*keyboard* Keyboard is for a PC {see it} the chief
vehicle, in addition to monitor {see it} and mouse {see
it}, and sometimes paper output or other input devices
(also as related to robots {see it}), for providing a
way in which the human interactor with the PC can express
herself. The buttons are arranged typically in this way:
on top, function keys marked F1..F12. Then, digits, and
on top of them, connected to the use of a shift-key,
special ascii characters like & and ^, and more of the
latter type in the periphery; then in the centre the
letters, the top left series beginning with QWERTY. The
arrangement is so that much-used letters in English are
typically easier to reach when both hand rest in front of
the keyboard. At bottom, the space-bar; at right, the
lineshift or ENTER key and near this, arrow-keys and such.

*lah* The mantra LAH is also an acronym for Lisa,
Athina and Helena, the three Salinger sisters or top
muses in the mt {see it}. This writer, A.T., typically
likes to conjoin this sound with own initials to make up
the letters ATWLAH,--'w' for 'with'--which is found all
over these productions.

*linux* the conventional CPUs require some way of steering
them and if this isn't done as in the case of the first
forms of Firth, where something like FreeDOS was used in a
modified form, then the most decent way of doing it is by
means of the (after all rather complex) GNU/Linux
operating system. However one can learn a little set of
commands so as to control its chief features from a
command line. Associated tools of some of these Linuxes
are Gimp, Gedit, Gftp, Eog and Firefox. The main way a
Linux communicates with hardware is typically by means of
a set of microchip-oriented protocols called USB. It's
not very elegant, all in all, but probably the best of the
commercially or not-quite-commercially available elements
of Personal Computing when something less elegant than the
Avenuege G15 PC is sought.

*lisa salinger* in mt {see it} Lisa Salinger is one of the
three top muses {see it} and this is the case in all later
works by same author also of philosophical nature.

*manhattan transformation* see mt

*mouse* or mouse-pointer device is, in addition to
keyboard {see it}, display {see it}, disks {see it}, and
the core PC {see it} with its CPU {see it} and RAM {see
it}, and its various possible hardware extensions for
networking and robotic control and so on, regarded as a
genius component of good interaction between the human
being and the personal computer. It allows, unlike so-
called "touch screens", the resting of the mouse pointer
device on the table. It usually has a left-click and a
right-click option. It may be programmed in G15 PMN so
that it has a functionality in togetherness with the
keyboard that may be operated, then, by the left hand,
eg in Curveart, without requiring such clicks on it as
may move it while doing drawing. However, over-reliance
on it must be combatted and the mouse shouldn't be used
as a replacement for the important focus on keyboard,
which remains a main vehicle for stimulating the human
mind during various tasks such as writing and programming.
The G15 PMN approach to mouse is to welcome it when it
really offers significant improvements over only using the
keyboard but using the keyboard when experienced use with
it is more than adequate, as the case eg with the B9edit
{see it} typewriter program.

*mt* mt is acronym for 'manhattan transformation' (and
sometimes used as name of the earlier forms of the
language works that led up to G15 PMN); the manhattan
transformation is a series of scifi explorations on the
nature of mind, matter, muses, sexuality and so on that
provided a fountain of coherent and clear ideas for all
later works; the scifi components in the G15 PMN platform
are of course building on notions unfolded in the mt
writings; a range of metaphysical ideas, providing a
refinement of the supermodel theory {see it} also with
a concept of the past as simulation {see it}, are amongst
the results of these works; the mt writings, with that
name (m.t.) first used, began, indeed, in Manhattan, New
York, 1997, while the final set of texts gathered under
that name was produced with the firth {see it} as released
april 10, 2006, 10 AM, or about that time, with the date
fixed that day.

*multiverse* Many people have challenged the idea that the
fullness of reality--cosmos--universe--whatever we call it
--is merely one level, the level of that which we see or
that which is manifest. And so the notion of the multi-
verse, the 'many songs or verses' as we may informally
translate it, has been called on by various people in
various ways, both inside science and inside computing
(for instance, the Ubuntu form of Linux speaks of a
'multiverse' of programs).

*multiversity* The concept of a multiversity is here
shaped as a general idea of what higher education ought to
be about--not a uniform shaping of logic according to
such cheap thinking as the 20th century was full of, and
which penetrates the uniformist quasi-standards of the
socalled 'universities' into the 21st century, but as a
both refined and intelligent and sensitive enquiry into
fullness of the multiverse, the totality of existence;
and with the evolution of concrete capabilities also,
such as in art, painting, electronics, G15 PMN programming
and so on. For it is part of being able to express
something better that one can also think better about it.
The full name of what we call G15 Intraplates Multiversity
brings all these concerns together; cfr intraplates.com.

*muses* in mt {see it} the three top muses are the sisters
Lisa, Athina and Helena Salinger, for which LAH {see it}
is an acronym or sort of mantra; in these writings, the
idea is presented that these young preteenish girls have
in them three essential forms of beauty out of which all
all other forms of beauty are composed; in mt, it the
author of mt is self-referentially occurring in mt under
an 'mt artist name' (later adopted as artist name outside
of mt), namely Aristo Tacoma (composed letter by letter
without attempting to refer to any family or such). The
muses are in charge of submuses {see it} and in the
visualisation proposed in mt, the manifest universe is the
collaborative effort of these; the set of views however
more or less emerged during the mt writings and more
systematic presentation is given in texts by same author
after the mt works as in texts found eg at yoga4d.org and
yoga6d.org; the muses are all female however they have
features, sometimes enhanced, when called on, of the
masculine and so may be said to have transgender features.

*neopopperian* When we see science as attitude more than
as a 'job', with a foundation in philosophical insights
into how a territory may always be more than, and
different from, any map or theory we make of it, we are
approaching an engagement in 'neopopperian science'. In
this, we will also apply care as to any use of the
infinity {see it} concept. The notion of a theory as
informal, a thing of meaningfulness in the human mind and
never identical to any formal structure was championed by
such as Karl Popper with strong support from Einstein.
  However, Popper, alongside a number of other thinkers
before and after him, consistently favoured the empirical
--sensory--experiencable as the main vehicle for saying
'yes' or 'no' to theories. The 'instances of confirmation'
and the 'instances of disconfirmation' we get to our
theories, whether they are in part illustrated by formal
languages such as G15 PMN also, must, when we deal with
such as what Brouwer {see it} wished to rethink as for
fundamental properties of numbers relative to the infinite
clearly call on human intuition. The more we talk of this
need, the more we must confront ourselves with that which
we consider to be 'metaphysics', or a question of theories
so lofty compared to the manifest universe that they are
practically speaking "God's own view". But metaphysics is
exactly what a number of thinkers since Kant and including
such members of the socalled Vienna circle as Russell,
Carnap and others (and visiting members like Arne Naess),
felt was a problem area, not something that can be met in
a scientific manner. However, goedelian insights {see it}
are nearing the metaphysical area in how these dismantle
exactly such as Bertrand Russell's set theory (indeed,
Kurt Goedel spoke of 'some form of meta reasoning' in his
seminal paper pulling apart Russell and Whitehead's
Principia Mathematica work). Once we admit the reality and
coherent possibility of human intuition to a strong and
not merely weak extent, we are shifting much of the
emphasis from the 'popperian' approach to what we can then
call a 'neopopperian' approach.

*nonlocal* If you put your finger into water rings spread
out as a kind of cause-and-effect action; the waves, in
the case of calm water, go out slowly and orderly enough
that it is easy to see that they proceed gradually, by
what we can call 'local' effects. Einstein thought, and,
as is now pretty clear, wrongly, that whenever anything
happens in the manifest world, one can always find local
causal correlations. But quantum phenomena in supermodel
theory are sometimes entirely 'nonlocal' in how they
appear. At least, they do not seem to have even as wild a
speed as that of light (some 300,000 kilometers pr sec)
as their limit. If they are local, then we're talking of
a different order of speeds than anything ever seen in
physics.
  That there's something funny about quantum phenomena
was first pointed out with forceful clarity and clear-cut
analysis by J S Bell in the 1960s. He was puzzled over why
Bohm seemed to be able to do with von Neumann years
earlier had, apparently, proven impossible (connected,
then, to an early version of de Broglie's pilot wave
theory). Bell showed that von Neumann had not made all
assumptions in his proof explicit. He only proved that
interpretations denying nonlocality are incompatible with
the quantum equations.
  Eventually, it has emerged that these phenomena must
mean some reworking of all our physics theorising. This
task has been done at the informal level only with super-
model theory {see it}--though many has contributed with
elements of such theories, only this theory actually takes
in the fullness of some form of correlation as inherent
in Einstein's works.

*past as simulation* in the mt {see it} is first used in
a scifi text in which it's argued that it's no fun for
the creator of a world to start at atom #1 so to speak;
rather the context is the radiant beauty of the muses,
and to provide a world complete with a sense of past so
that the world is already 'educated' enough to co-
perceive the beauty of the muses.

*pc* The Personal Computer, or PC concept, orginated by
IBM corporation in the late 1970s, encapsulated the notion
of a greentone monitor, a keyboard, and, with the later
additions as proposed by Xerox SPARC and Apple of a mouse
{see it} pointer device, as well as more capabilities of
the computer in some regards, so that a human being can
have the fullness of operating a computer at close and
personal and meaningful range in a mind-stimulating and
practical and also sometimes funny way. The PC concept
went through a number of permutation before, as we prefer
to see it, we 'rescued it' by the G15 approach as here
presented, bringing to the fore concepts such as
'stimulation not simulation' {see it}. A PC has keyboard
{see it}, display {see it}, disk {see it}, CPU {see it},
and RAM {see it}.

*permille* the concept of 'one pr thousand', which is
permitting notions such as 500 permille rather than the
all-too-secondhand (and, in commercial shallow thinking,
so much overused) '50 percent' idea. This liberates our
thinking of proportions from the meaningless '100' max.
It permits two additional 'decimal dot' corrections of
a scale that goes up to 10, and encourages richer flavours
of minduse.

*personal computer* see pc

*programming language* In contrast to English, which is
shaped so as to give rise to a range of communication
possibilities for the infinitely alive and subtle human
mind with all its finer shades of feeling in a totality of
insight and meaning--also as communication with oneself--
a programming language is a set of rules for how to put
letters and digits and such after one another so as to get
a certain effect produced on a PC {see it}. While this
bears resemblance to the written form of such as English
to a tiny extent, here and there at least, it totally
complments English in that the only 'meaning' that is
entirely important to the CPU {see it} of a PC is what it
means in how it moves numbers and such from one place in
RAM {see it} to another, and some more such actions.
  However, a well-made program--a set of statements in a
programming language such as G15 PMN--is also such that it
gives artistic and psychological meaning to the human
being writing it and to some extent also to those who read
the program later on, perhaps even to a very large extent.
The beauty of the program involves a sense and a
meditation on its order, and echoes something of the
poetic quality of some statements in English. Its
technical concise aspect is such that it can serve, both
by the form of the programming language statements, and,
typically also, in terms of what they lead to on the
display {see it} of the PC, to illustrate some aspects of
thought even beyond what such as English can do. In that
way, a programming language, conceived in this pure
fashion--and G15 PMN is from the start thought of also
in that way--can be a way to work in science, and to get
some features of some theories illustrated in ways that
can lead to further informal thinking in natural language.
Note however that in the neopopperian {see it} approach to
science the informal aspect of theorizing must always
reign supreme. What with one thing and another, scientists
such as Albert Einstein and Louis de Broglie were among
those who were absolutely agreeing that the informal and
the human visualisation of reality must have a clear-cut
precedence over the formal in science. In this, Einstein
sought to challenge the mainstream works of quantum theory
and while the works of such as Bohm {see it} could have
led to alternative approaches that he could have liked, he
had, it seemed, a strong bias against anything nonlocal
{see it}.

*q-field* This is an informal concept arising, like the
idea of the 'quantum touched' {see it}, informally out of
supermodel theory work. It concerns how we, in designing
anything, ought to take into consideration how the super-
model of that which we make interacts with other super-
models in existence. Each such active or "super" model is
existing at several levels in all things, and more so in
living things, and most of all in human beings. This means
that there are additional features, beyond plain useful-
ness, and beyond obvious elegance, that must be taken into
consideration for good design to be. In finding a good
q-field it will, however, usually also be so that at least
in the very long term, the design will also be more
practical. This is a complex area and intuition must be
the guiding-line; more writings about this elsewhere as
also linked to from the yoga6d.org/economy.htm page.

*quantum touched* This is an informal concept arising
naturally out of supermodel theory {see it}. It means that
the understandings in that theory are realised here at
many levels and in many ways. For instance, in the G15 PMN
clock on the G:15 home card, big pixels are used to show
analog handles of the clock. These big pixels are there-
fore showing features of the irregular--something that
arises when something very 'finite' like pixels are put
in a context of something more 'infinite'-like such as
the idea of a circle in an analogue clock. The middle-
thing between a known limit and an idea that goes in some
way beyond this limit leads to features that has some
resemblance to the quantum phenomena we may find in
laboratories set up to study these things.
  For instance, when the pilot wave of a particle has
a constraint, a limit on it, it shows various frequencies
clearly, and others vanish. But when the pilot wave has
no limit, no constraint, all frequencies become equally
possible and so the quantum features are less obvious.
  Psychologically, in first-hand programming {see it}, we
then put a premium on having known constraints so that our
insights can take on quantum features.
  Ultimately, this is not a mechanical process. This is
rather a phenomenon that's ultimately rooted in what we
mean by infinity {see it}.

*ram* the G15 PMN Personal Computer concept is thirty-two
bit {see it} through and through, and this affects also
how the socalled RAM (originally, "random access memory")
where all the most active programs and most active data
at any time is held is organized. It's organized as a
series of 32-bit numbers, each with a position that also
can be referred to by such a number. Though technically
one can go from mega to gigabytes in terms of how many
numbers one can refer to (though note that when 'byte' is
used, it is classically referring to a fourth of this many
bits, ie, 8-bit numbers), G15 PMN is all about First-hand
Programming {see it} and millions of such numbers are
enough and is a suitable constraint. The disks {see it}
are holders of that which may be loaded to, and saved
from, RAM, and, while much slower, have much larger top
capacities. To clear RAM, do a REB command after CTR-Q
in the Card Editor {see it}.

*robot* from the eastern european word for 'slave', it
refers to, put simply, the resulting unit you get when you
have a PC that has an extra set of input and output
devices, typically such as camera or other sensors as
input and motors controlling perhaps wheels or some kind
of 'robotic arm' as output. It is part of the first-hand
approach to programming and computing to avoid the
production either of hardware or software that confuse
the human mind by mimicking reality. A robot, in this
approach, should look clunky and boxlike and shouldn't be
shaped so as to give the appearance of something it isn't.
Its output and domain of activity should also be
configured according to goedelian insights {see it},
rather than according to the self-deceptive practises that
reductive mechanistic pseudo-scientists are doing in the
name of what they call 'artificial intelligence'. In the
more coherent, more ethical, more meaningful approach, a
robot is controlled with FCM {see it} in its computer.

*robotfont* also rbotfnt, robotfnt is a font designed, in
contrast to the B9font that it complements well, to be
excellent for precise technical work with digits, letters
and other characters and in a format that also could be
rendered to a small matrix of such as LED-lamps; in order
to accomodate a small matrix in a way that gives the
experienced user with the font clear-cut and vivid
contrasts of an unambigious kind as to what letter is
what letter and what digit is what digit, the approach in
robotfont is taken (with some analogy in Russian) that
the same font is used for upper- and lower-case letters.
In this way, the design went into what contrasts can be
best and most positively implemented in this limited
set of pixels without having to duplicate the set of
letters; but in order then to indicate when capital
letters are sought, the approach was taken to use a place
on the matrix as a 'capital letter mark'. The design of
this font went alongside with the design of the G15 CPU
{see it} itself, and indeed has become a major vehicle of
the exceptional and genious clarity of programming and
thinking work we now generally associate with advanced
G15 PMN programming in the card editor {see it}

*rs232* A rather first-hand way to make electronics
circuits communicate with a computer or such.

*second foundation g15 pmn* An app {see it} summarising
all the most-used higher-level functions in G15 PMN in
the core platform. Expanded on in the Third Foundation
{see it}.

*stamash* a concept of martial arts first created in mt
{see it} as an evolution and bringing-together of what's
softest and most magical about aikido and hardest about
karate and kick-boxing; cfr stamash.com for the real life
version.

*stellar craftnet* a term we first used in Anaiis Blondin
{see it} scifi writings to denote computer network but
also part of the G15 PMN platform in the calls done by
the B9edit {see it} editor. Its features are as follows:
text and image oriented. The images are Gem images. The
links are all explicitly shown. No hidden code. The disk
L is used to 'link' to various parts of the net. The
images are shown on top of the page while robotfont is
used at the bottom for the text element. The text can be
fetched over to own B9edit main mode for more focus on
the text apart from images. More browsers of the s.c.net
can be made, also so as to permit loading in of apps.

*stimulation not simulation* the approach taken by all
our works in G15 PMN and surrounding philosophy is that
of honoring the human mind, feeling, intelligence, and
sensibilities, in a coherent way by means of not aiming
to superficially impress with reality-imitations but
rather to stimulate to own thinking and own visualisation.
This is sometimes achieved by visible pixels, as in the
Curveart {see it} way of drawing onscreen for cartoon-like
games and more; sometimes by greentone {see it}; sometimes
by known boundaries, such as the 1024x768 screen size and
other known 'constraints' that allows the mind to play
against these limits in what we also called the 'quantum-
touched' {see it} approach.
  In the mt, and in later writings linked to at yoga6d.org
and yoga4d.org, the notion of a transition from a
'simulation past' to an 'actual universe' has been
utilised several times, fruitfully, on the level of
metaphysics and more. The idea of 'past as simulation'
{see it} shows how consciousness must be provided with a
past to meet with the present even at the expense of
making of the past a kind of the sense of a 'hoax',
indeed an extremely elaborate one (however one that
human intuition is supposed to be able to penetrate to
some extent). This is also connected to the writings
that involving protecting the mind from too much of the
infinity {see it} concept, refer to what's playfully on
aforementioned websites called 'cryptonite', also.

*submuses* in mt {see it}, the three top muses {see it}
has trillions of trillions of muses underneath them,
namely, the submuses {all female and young}.

*supermodel theory* a nonlocal {see it} theory of the
multiverse {see it} of a neopopperian {see it} kind,
where features of de Broglie {see} works, his nonlocal
pilot wave theory is taken together with (in the ripe,
evolved form of s. theory) a berkeleyan worldview {see
it}. A 'model' is something like a program yet more
capable of being dissolved and recreated by subtle
forces. These models are active relative to one another
and they are perceving of one another, in that sense,
'super' relative to one another. Other names of this
theory also included 'supramodel', 'supratext', or
'supertext'. It's an informal theory, and, in its ripe,
neopopperian form, a proudly informal theory, so that the
goedelian insights {see it} do not let it have the
inconsistencies associated with self-reference. However
it has in it a clear-thought revision of the correlations
correctly predicted by A Einstein in his general theory
of gravitation even as it is very near the quantum level
in how it is conceived. It is compatible with a view in
which reality has several more levels underneath the
'Planck' level of the quantum phenomena connected to
traditional quantum theory. It preceeded both the earliest
form of the Firth platform and has informed the whole of
G15 PMN through and through, so the latter can be said to
be truly 'quantum-touched' {see it}.

*third foundation g15 pmn*, sometimes called the "Pen-
ultimate High-Powered G15 PMN Terminal" includes FCM and
builds on the Second Foundation with a whole, complete,
coherent set of programs to serve, consistently, both
very advanced G15 PMN application work and also the
goal of a pedagogical platform to quickly scan for and
look up definitions and browse cards all while doing
interactive easy work with PMN.

*thirty-two bits* With eight bits {see it}, we have
numbers going up to 256 or so. The idea of 256x256x256x
256 shows us that 32-bit involves billions. This is far
more convenient for advanced human thinking in that the
quantity of digits are above even the ca. 7 that is found
to be easy to think with and memorise in the fastest part
of the memory processes, the 'active thought' part.
  When we wish to have signed numbers as well, in G15 PMN
signed either with a dash (-) or with an exclamation mark
{!}, then we need a bit set aside for this purpose. This
diminishes max values of 32-bit numbers, also, in G15 PMN,
called 'big numbers' or 'bignums' for short, to some two
billion (plus/minus) instead of four billion. But it's
still capable of having all numbers up to 999,999,999 with
ease. As organising number for the G15 CPU, it suits this
purpose infinitely well, also as warps {see it}.

*three top muses* In many flavours of world religions,
ancient and nwer, the idea of three living essences are
often found. Created by God and dearest to him, whether
as supreme beings or angels (or that which in early Greek
mythology is called "gods", not just "muses", even as
Zeus in that very same mythology is a source of all the
other active gods and in that way gave rise to the Latin
Deus concept of the one monotheistic God in Christianity),
these three work with the fountainhead to give rise to all
variations in the manifest.

*warp* the root of the word 'warp' refers to such as a
flower branching out from the rest somewhat unexpectedly,
or to some 'crossing' features of some woven textiles, but
in scifi it also means utilizing something like
nonlocality {see it} in transcending light. Eg, in Isaac
Asimov's Foundation trilogy, he speaks of travelling
throug 'hyperspace' as the region this neither something
nor nothing, and where one can travel between as many
lightyears as one pleases between two neighbouring
instances of time. This is the idea other scifi writers
sometimes refer to be 'warp', or 'going to warp speed'.
  In programming languages, Forth, C and several other
languages gave programmers total control over instant
jumping to anywhere else in the program by a feature
called 'pointers', often a feared feature, for much could
go astray if these weren't handled correctly.
  In G15 PMN the pointers have got a new name, indeed, the
name "warp" (which we did also for the earliest Firth
forms of the language), and these warps are not to be
feared but to be loved: they are standardised and while
they have vast powers, they are also, in a sense, also
ordinary thirty-two bit numbers {see it}. Although the
context makes them special. Hugely special.

*yoga6dorg* the G15 {see it} CPU instruction set is also
called the "G15 Yoga6dorg" instruction set or the
"G15 assembly language" {see it}
  "Yoga6dorg" is assumed as part of the "G15" concept also
when used to denote the more high-level approach in pure
"G15 PMN" {see it}; in addition, the Yoga6dorg word is
used to denote various features connected to the network
site Yoga6d.org including also network search as when
approached by means of G15 PMN eg in Stellar Craftnet {see
it}.

* * *
If any changes to this document after March 24, 2016, they
will be listed, with date, here:
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