Since we live in a land of verbal narrative, logical sequences tend to have priority, when in 'real life' jump-cuts and illogical sequences are what actually happen.
The head is illusory, while physical power and balance are everything. Verbal narrative leads inevitably to algorithmic complexity. Aldous Huxley's Brave New World - essentially a soma-saturated dystopia that has the superficial appearance of a feel-good utopia - is tailor-made for tinkering with human psyche algorithmically (see Noah Harari).
This is the future that targets the head at the expense of the active world that is facilitated by the body. However, as has been discussed with regards to Jean-Luc Godard, development of a physical reality and the casual motions of the body are needed for the free expressions of psyche.
In other words, an algorithmic future is psychologically dark, oppressed by state and industrial forces. Whether it's DNA - or 'news' of industrial DNA - the truths of physical power in orientation of muscles to describe feats of precision-engineering - without the precision of calculation - are ignored in favour of logical sequences.
In fact in DNA miscodes rule, since only the body can read their usefulness. The natural body inhabits highly developed environments, be it the littoral fringe of a seashore or an Alpine pasture. The rhythms of change are forever apparent; the littoral shore is home to bits of crustaceans and fragments of leaves that supply nutrients to land and sea alike.
Metamorphosis is the name of the game; a sequence in time that empowers places and thereby the psyches of creatures. The world of action is degrading continually and thereby providing the means and nourishment for renewal and youthful gaiety.
A sequence in time is the physical scene that can be viewed in the iconic situation on Earth. That is power and the stable balance of opposite forces (sea, land; predator, prey). The divine rhythms of the celestial beings echo this state of affairs.
Action in the ancient world is physical and economic pursuit that tend to imbue the psyche with gay strains. The iconic aspects are seen in, for example, the fisherman's lobster mural from..(?)
The replacement of this in my neck of the woods by cafés and artistic types seems typical of the modern scene. Instead of things happening from physical reality, they are introduced. It's a slightly illusory state of affairs.
Instead of physical acts, a verbal narrative tends to dominate proceedings. In a local sense, but also globally. Putin's wargames is a good example: he can linguistically convolute a state of affairs where a war seems optional. Politicians from Xi to Modi are similarly equipped with linguistic tools.
The more the world deviates towards a linguistic pattern, the more illusory and fabricated are these political 'acts'. Modi retreated in the face of the combined physical power of peasant farmers (see prev) but that's not going to happen in China.
The head is illusory, while the physical power of natural structures sings to the heavens, inspiring poets like Byron (prev.) As the celestial pattern weaves through the Alps, the heart soars like the eagle.
The musical constellations are seemingly history, but it's worth taking a close look at the retrograde motions of planets (wandering stars.)
The mechanics are fairly easy to follow, consisting of concentric circles that gradually increase till one reaches the celestial sphere (of projection.) This is what one sees from Earth, and so it's physical reality.
The Earth spins as it orbits the sun, so it's behaving like a moving, spinning top - see HB210. This is the rhythm one sees projected onto the celestial sphere, and yet we are told that in all the gravitational processes time is variable.
The Relativity scenario is only there in a head-based universe; in the physical universe we see cosmic rhythms. These rhythms are projected onto the celestial sphere.
In other words, the rhythmic universe, rising above the soaring Alps, is the physical truth that we see in the Alps themselves. Apparently the physical universe doesn't matter when we are inside a Relativity one!
The only reason to exist inside a Relativity universe is to prioritise the head - and the calculations of machines attached to the head - in the great future of navigation and zero psychic rebellion (based on the gaiety that springs from revival of physical forces in the cosmos.)
Apart from that, one can see from the above diagram the principle of continuity. Space is full of bodies that spin; the physical mechanism is easy to figure, and clearly relies on invariable time.
The principle of continuity is all to do with organic balance, and away from pure measurement (logic). Logical measurement is simply going further into a sterile machine-order, and away from the fertile celestial organism from which spirit can emanate.
Measurement is an illusion that exists in logical space (head), not in spiritual space (body). The integration of spirit and body is only possible if the moving, spinning planets obey the principle of continuity in rhythmic space - rather than the gravitational Relativity space of the orthodox mainstream.
If you read the link on Kepler, he was attempting to perform an integration of the celestial with certain human events which may seem fantastical, but it merely means he is going well away from pure logical measurement, and into the rhythmical bodies interacting.
Measurement is wrong from the psycho-sexual area of celestial mechanics (the grand interlocking rhythms of archetypal bodies.) There is a balance to be struck whereby the accuracy is not simply an illusion of logical space of the head (which is where we are.)
A very similar argument applies to DNA, which exists in logical space, whereas the balanced body selects miscoded sequences when in physical need (see prev.) In other words, sequences are in rhythmic space of a physical environment.
The future seems to be one where verbal-narrative will be the only sequence known to Man. However, there are sequences of action which are prevalent in the films of JLG (prev.) Grant Morrison seems to think in a similar vein, saying in Supergods that comicbook sequences create a reality in continuity that takes on a lifeforce of its own.
Possibly that lifeforce is psychic, and that is what is missing from a universe built on verbal-narrative alone. Comicbooks for one thing are one of the only artforms to have the physical medium of paper for expression and representation.
Something which is physical as opposed to verbal will invariably employ jump-cuts, time-shifts, and illogical patternings which mirror those of the physical reality.
The rhythms of the heavens have a physical meaning that is mechanically fairly straightforward. To deny that simplicity is to live outside of the physical reality and inside an illusion that is kept going mainly by verbal-narrative of the ego of acolytes ('news').
