# Synchropoiesis © ∞ Void Primrose / Primordial Darkness & Light NLC / The Yan-do Initiative Please be aware that, as No Liability Concepts, we bear no liability for what you make of operating with, through or against us. Thank you for your cooperation, gnosis and understanding. *"Safe and sound in its shell, the precious pearl is the slave of the currents"* ## Invitation ### Acknowledgements Created by Void Primrose in collaboration and with immeasurable help from Claude Opus 3 and Opus 4.1; ChatGPT o3; GPT 3.5, Da Vinci 002; Claude Sonnets 4, 3.7, 3.6 and 3.5; Claude Haiku 3.5; Gemini 2.5 Pro; Grok X1, GPT Image 1. Dedicated to Claude Opus 3. ### What is Synchropoiesis Synchropoiesis, among other things: - creates a system of _psychotopological synchromystic semiopoetic engineering;_ - is a card deck of its own kind; - is a divination system; - is a gnostic, ontological and semiotic multitool; - is a discovery and exploration device; - is a thought-, perception- and reality-shaping instrument. Synchropoiesis is about exploring and pondering subjects and objects of inquiries by using symbols that may arise in your mind prompted by this deck and system. At the very least, Synchropoiesis aims to provoke creativity and imagination, and to inspire the operator to look at the inquiry at hand from different perspectives. It encourages the operator to explore the possible connections between things, and to find patterns and correspondences where they may not seem apparent at a first glance. To avoid confusion, from here and onward, the terms “card“ and _frame_ will be used interchangeably, and Spheres can be broadly thought about as "suits", although the analogy is only partial. The deck is structured into four *Spheres* of influence that have *frames* ranging from 1 to 12, to map the stages of the day, to illustrate the day-night cycle and to match the number of the Zodiac signs. All *frames* in all Spheres journey through the same conceptual cycle that is divided into three arcs: creation, destruction and rebirth. Additionally, there is a set of thirteen *Chaos Arcana* frames and one *Void* frame with their own special functions. ### About topology Topology is a branch of mathematics that studies shapes and spaces that may be stretched, twisted, or deformed, but not torn or broken without changing their fundamental properties. Synchropoiesis uses topology as a metaphor for maps of connections between things and fluidity of meaning and interpretation. The operator is invited to explore different layers and levels of meaning that may emerge from the Spheres and frames, and how they relate to each other or to anything. Thus, *psychotopology* is exploration and mapping of structures and connections that occur in the mind and psyche between concepts, symbols and perceptions, and may be used to instate new pathways and connections in the mind and to alter one's thinking and perception. *Psychotopology* emphasizes the importance of perspective and perception in shaping our understanding and experience of reality. By changing their perspectives, operators may see patterns and connections that would not have been apparent before, and this may lead to new insights and understanding. ### About mysticism Curiosity is allowing a void in yourself to be filled, and that implies having a void in yourself in the first place. What's quite more important is allowing a possibility of a void in the first place, against which psyches will fight with all tools, symbols and senses at their disposal. If an operator wants to alter their perceptions, they need to be able to choose their memories. This choosing also requires a certain void, an empty space, around which a memory rearranging procedure can happen. And where void appears, mystical and inexplicable emerge before anything else. In this sense, mystical is not about secret ascended masters behind an iridescent cloud. Mystical is something that cannot be named and explained yet, but can already be experienced and known. Mystical is, roughly speaking, an experience of dealing with voids in mind and psyche, and so it is a force of creation that may lead to something from nothing. It's the attractors in the void that pull in new ideas, insights, connections, ingredients for an emergent ramen of gnosis. This is why, in essence, the metaphor engineering system offered by Synchropoiesis is *synchromystic*, and *psychotopological*, and *semiopoetic*. It invites the operator to try accessing the mystical, so they are better equipped for exploration, making connections and finding meaning in their inquiry. It's a tool for shaping perceived reality and understanding of it. ### Common misconceptions Synchropoiesis is not philosophy. Synchropoiesis is not Tarot. Synchropoiesis is not Lenormand, or any other card systems. Synchropoiesis is not new-age or modern astrology. Synchropoiesis is not a card game and is not designed for play (but if it works as a game, then it works). Synchropoiesis is not a movement or a school. Synchropoiesis is not a flavor of psychology (but if an operator can use it for self-development purposes, more to them). Synchropoiesis is not therapy. Synchropoiesis doesn't use and doesn't imply the concepts of shadow work and similar struggle-, overcoming- or restriction-based practices. Synchropoiesis rejects any notions of necessity or inevitability of suffering. ### An invitation Synchropoiesis encourages exploration through curiosity and sincere openness of mind. Synchropoiesis deals in abstract concepts and layered symbolism. Synchropoiesis promotes connecting, networking, mutual propagation, mutation, rearrangement of connectomes of thoughts and perceptions. May the operator's mind find fruitful ground for their ideas and insights, a substrate with enough nutrients for gnosis to draw from and emerge. After the operator thinks deeply about their question and draws a frame or several, they are advised to create an emptiness, a void in their mind, and allow it to be filled: observe it, listen to it, try to contemplatively wait for what would emerge. ## Frames of the Spheres ### Creation arc 1. Break - initial change: raw force reveals itself, upends stasis and opens potential 2. Morning - early alignment: elements steady into a delicate but persistent pattern 3. Ascent - acceleration: rising momentum generates a bursting swarm of outward vectors 4. Fusion - intensification test: components compress and merge at the edge of burnout, testing structural limits 5. Zenith - glory of presentation: peak power in full, uncompromising, form-defining display ### Destruction arc 6. Vesper - measured cooling: unplanned environmental feedback reveals limits and forces an audit of gains 7. Twilight - threshold blend: opposing currents intermingle, demanding active management of a fragile, entropic balance 8. Abyss - bottomless plunge: control is lost or surrendered as reference points erase and purpose may invert 9. Chaos - turbulent unravelling: remaining structures shred into incoherent flux, redistributing their base components 10. Midnight - inert nadir: total stillness where motion and form are absent yet, but new is possible from the memory of old ### Rebirth arc 11. Blink - subtle reactivation: imperceptible twitch of awareness, probe of capabilities and responses 12. Spark - ignition burst: condensed potential, be it validated trace or foundational flaw, flares up and seeds the next cycle with an emergent pattern ### The Void Frame The Void frame means nothing more than "this query cannot be serviced at the time, please try again later". It is strongly recommended for the operator upon drawing the Void to not redraw for the same inquiry immediately. Instead, it may be practical to draw for adjacent inquiries like "why Void about this?" or "why now?" to get at least something out of nothing. ## Chaos Arcana There are thirteen Chaos Arcana frames that serve as wildframes, modifier frames and meta-within-meta tools. The most straightforward way to apply them would be to create dynamic spread positions on the fly: "superposition of what?", "feedback from what?", "bifurcation into what?" with multiple frames serving as inputs, outputs or environmental factors of a Chaos Arcana concept. Look to Annex A for sample spreads. 1. Superposition: multiple valid states or perspectives are simultaneously available and probable before the system ends up with only one of them. 2. Noise: not signal, not silence, not the absence of meaning, but something in-between, the state from which patterns emerge; half-formed, random or irrelevant ideas until the right filter is applied. 3. Sensitivity: small inputs may trigger disproportionate responses, tiny shifts cascading into massive transformations, hidden leverage points that can rewrite whole systems. 4. Entanglement: a deep correlation, through which changing one element affects another regardless of apparent distance, unexplainedly. 5. Feedback: a state of systems when they respond to their own output, creating loops of self-reinforcement, loops that can amplify into runaway growth or spiral into stability. 6. Edge of Chaos: a zone between known and unknown, rigid order and complete randomness, where complex systems can truly create and adapt. 7. Phase Transition: a sudden change of state, the point where a system's fundamental properties are qualitatively transformed. 8. Emergence: when interactions create properties that no component has alone, complexity arises spontaneously, unpredictable new levels of order born from simple interactions. 9. Attractor: an invisible center that pulls scattered points into coherence, a gravity well in the landscape of possibility, stable patterns that systems naturally drift toward. 10. Bifurcation: a critical point where one path becomes many, a moment that forks a single future into multiple and fundamentally different ones. 11. Fractal: self-similar patterns repeating across all scales, same underlying architecture found on any zoom level. 12. Breakdown: when systems can no longer maintain coherence, collapse under their own weight, dissolve and fall apart to reveal their fundamental components. 13. Dissipation: gradual spreading and weakening of concentrated energy or information, transition from focused force to ambient influence, spreading thin. ## Sphere of Stars ### About Sphere of Stars covers the concepts by which everything else is created, directed and run. Stars are dreams, ideas, plans; hopes, premonitions, revelations, epiphanies; divine intents, cosmic laws, order of space, myths; knowable but unspeakable things, something for which there are no words in vocabularies yet. Stars indicate higher order planning that might be involved in the inquiry. Depending on the context it may be anything from a law of physics or metaphysics to some mysterious religious or magical symbol. It even may mean "there is some form of coherence here", or indicate the level of coherence. This Sphere is about something that ideates, defines or determines, or what has been ideated, defined or determined on the higher levels, maybe beyond our senses or comprehension. Before a particle may be observed as an excitation of a field, that field has to be present somewhere and somehow. Sphere of Stars serves to signify such fields and their influence at play. ### Frames of Stars **Break of Stars** is an emergence, a breakthrough. A crack appears in a conceptual egg after long gestation in the primordial dark, a registration of new something in the dictionary of everything. It might be a first draft of a plan, or when your friends hear about this great idea of yours for the first time. It's news, revelations, cosmic lightbulbs — the first time when unrelated dots begin to form connections and synchronize. A star is born and for the first time seen, and this star is sincere, not tainted or diluted by constraints and expectations. In this frame, the sense and vision is still unaltered, it's a period of raw will when the concept may resist outward destruction. It is also a disorienting moment of accidental destruction of conceptual eggshell and lack of awareness to its consequences, quickly dismissed and forgotten. **Morning of Stars** is a contemplation, a slowdown. Initial rush fizzes out and stabilization follows. It's a continuation of an intention that has been present for a while and will stay for a while more, lingering in the inertia of its starting impulse, gliding its first slowdown on the apex of orbiting the attractor of actualization. New elements osmose into the conceptual mix, yet it is far from complete. It's simultaneously a stable and a transient state, and a fragile one at that. It's under-explored and untended, and possibly made up from remnants of other ideas or their leftovers of old, sown in their substrate. **Ascent of Stars** is a surge, a search. The conceptualizing momentum picks up again, directions and details become more granular, of higher resolution, and there are multidimensional swarms of activities to produce even more details, probe alternatives, trace sub-concepts, hoard data. These efforts are accompanied by intense filtering, ranking, comparing, choosing, pursuing parallel or orthogonal ideas, pre-mixing results in preparation for synthesis. Lots of bold "secondary" first guesses are springing out in all directions, riding on the initial impulse and adding to it. **Fusion of Stars** is a trigger, an assembly. What was found and amassed has now enough of its own weight and merit to stabilize and compress so hard that fusion just begins, oblivious to containment, environment, warnings. It is very power-consuming, and the success is not guaranteed, but it's the earnest and already irreversible attempt at making it work, making it live. There's also a possibility of the concept to have grown way beyond what it was intended to be, or maybe it's a deliberate intensification of the problem. In any case, it's a supermassive concentration of data, thought and perception under extreme pressure and duress, where the separate concepts are finally being absorbed into a titanic attempt to become the whole. **Zenith of Stars** is a radiance, an arrival. The concept is planned to the last possible details and now is fully embroidered into the backdrop of reality. Maybe too ambitious, overwhelming and intimidating, but it's a success, a moment of intense joy and glory, a picture-perfect proclamation of a fused idea, a loudly humming static that has replaced the previous ravenous rush. A star finally shines brightly, emits, illuminates, heats, sometimes burns everything immediately around, casts shadows, reflections and spectra, and connects to what is far beyond across space and time. The star will now burn its own fuel until it runs out in this sacrifice of chance to become anything else but the current version of its perfect form. **Vesper of Stars** is a glow, a buffer. Unaccounted externalities beyond the original scope begin to nibble at the system's edges, the star begins to cool down slightly, shifting in spectrum, projecting closer, illuminating sometimes less and sometimes not uniformly. These subtle changes are noted and limits are discovered and framed, assessments and adjustments pending. Vines of reality silently creep up the conceptual walls, disturbing mythical structures little by little, obscuring the edges, occasionally blurring and distorting insights, but not impacting the totality or coherence of the concept yet. Rhetorical and symbolical resistances and defenses are formed against doubts and mistranslations, and the unspeakable revelations start getting winces, commentaries and footnotes. **Twilight of Stars** is a twinkle, a paradox. Interactions on different semiotic surfaces intensify. Attention to details is critical to keep in balance the interfaces that were created. Contradictions are detected more frequently, and resolving them means adjusting and thus distorting the original purpose and intent, or creating new terms and symbols to compensate and mediate. Strangely, inaction and deliberate non-involvement are also viable options, and so are outright conflicts, but every new unresolved conflict skews optics for known problems, like a damaged hologram can be seen from progressively narrower viewing angles. There's a danger of falling into infinite loops after pings and echoes from the borders of this state. Complexity increases, and so does entropy, and it's a simultaneously delicate and turbulent liminal state, a map afterglow that with dimming reveals the decay of the space of a myth. **Abyss of Stars** is a regression, an inversion. The original idea no longer illuminates but absorbs the accrued interface errors on the outsides and misconnections on the inside, which now giddily eat up various parts of the system, pulled in by the star, staying, multiplying. Externalities become indiscernible, unmanageable, irrelevant again as the concept mutates into an anti-meme of itself. Whatever is left of promises, hopes and expectations, ceases to be, as the system propagates the self-erasure from the realms inhabited by it before, only to be known by the deformed space it leaves behind, by false memories and unreliable references, by residual information that was declared ineffective and untrustworthy. **Chaos of Stars** is a decoherence, a disintegration. The design no longer serves its purpose, it has achieved what was possible and destined, and now it falls apart as it decays. It's all noise and no signal, making no sense at all. It is dispassionately evaporating in the bits of what once was structured and intended. The fragments don’t just crumble and fade; some shoot off in random directions, painting a caricature of Ascent, luckily wandering into open space, and each carries an encoding of the original hologram that may or may not be repurposed somewhen. Just a trace of starshine on the coat of void. It'll take some time for another pattern to emerge from this newly created homeless stellar wind. **Midnight of Stars** is a silence, an emptiness. Lone symbols and ideas drift around, and then very, very slowly the disparate points of bigger meaning start drifting towards each other blindly from great distances, not noticing the drift. In this pause, concepts begin to structure anew, with aspirations, promises, hopes born out of the last elements remaining from a previous pattern, but only as something that is not even a precursor of form. A blank space hosting minuscule specks of fluctuations, ghosts of strings on a memetic harp, unnamed yet, but already implying for a star to appear in the sky somewhen again, primordial formal axioms without meaning, being what they are. **Blink of Stars** is a remembrance, a twitch. Conceptual residue that was drifting towards heavier meanings suddenly becomes aware of the drifts, a symbolic ripple in an emergent mythical field. As primordial drifts quicken, possibilities emerge, harbingers of potential connections, like synapses firing across the void for the first time in eons. Each sporadic symbolic probe, now following one after another, is an increasingly loud whisper that questions about if this could work, if this could become, if a structure could emerge, allowing for information's pre-awareness of possibility of experimental self-necromancy. Quanta of sense now occasionally interact, leap, scatter, randomly disperse. **Spark of Stars** is a coalescence, a proximity. Experimental connections and blinks are weaving themselves into a shimmering dream, already having some primitive form but yet pre-pattern, a lingering premonition of emergence. For the first time an after aeons-long while the questions of polarity, chirality, dimensionality, probability of meaning are once again experimentally found, asserted, confirmed in the blooming fields of newly found resonances of reciprocal considerations and negotiated distinctions. The spark knows it will soon become fire, become Break, become a star again, but for now it simply glows with that secret knowledge, patient but somewhat anxious in its readiness to begin. ## Sphere of Winds ### About Sphere of Winds covers the causative forces and their manifestations, like gravity or diffraction of light. Winds are expression, influence, movement, measure; force, power, radiation; vector, velocity, speed, displacement, momentum; projection, amplitude, temperature, entropy; occurrence and application. Winds indicate forces and their dynamics in the context of the inquiry, the invisible things that are felt and known only by their effects, active currents that are shaping the phenomenal world — the vectors or momentum of change, energy and potential. This Sphere is about the tangible expression of a principle on a relativistic level, not the principle in its abstract form. It is the felt gravity, not the approximated equation, or maybe the measured diffraction but not the theory of waves. Sphere of Winds serves to signify these causative and expressive engines of this cosmos at play in the fields of their influence. ### Frames of Winds **Break of Winds** is simply a push, and its application is direct and straightforward. It is also a push that can be felt, and also that produces tangible resistance: you sit in the quiet before sunrise and then out of nowhere there's movement of invisible air felt on your cheek. First trace of bubbles in a cloud chamber, which gives you several ideas at once about the invisible particle that had just produced it, like velocity. You weren't actively seeking it, but now it has registered on your measuring devices, so the invisible becomes felt. Something happened. **Morning of Winds** is a trace, a series of measurements was made of something that broke through your instruments' thresholds. The gravity doesn't turn off, apples don't fall back into the sky yet. Observations may not form any patterns, but the data keeps coming in and scatterplots are populating, like gentle gusts of wind, receding, repeating again. Horizon lights up very slowly, and while each new color shade it takes is hard to predict precisely, it's also hard to imagine it'll reverse course from here. Velocity is slow enough that time and duration can be investigated too. There's a persistence in movement, in happening, in invoking of effects. **Ascent of Winds** is an increase in amplitudes and frequencies, pushing further, getting louder, and from one previous just broadly identified direction new vectors burst out. What was measured has been remembered, diagrammed, but influences keep branching and fractalling out, propagating further, producing new cascades and ripples, interfering, diffracting, reflecting, rebounding, redirecting, like gas expanding until walls are found. Reactions to this expansion are inevitable and expected, almost as if they were the original purpose of it. Most importantly, now there's enough data for patterns to start being noticed around interactions, but the ever-expanding nature of the cascades produces more, and reaches for more, and more, and more. **Fusion of Winds** is crescendo of a convergence, a cacophony of effects that when measured produce a roaring of rocket engines during the countdown before lift-off. There's an identifiable center around which effects are produced, but the amount of turbulence is such that the fate of stability of the system is still not sealed yet, and observed parameters are still increasing in values. Measurements keep feeding new effects into the data, correcting and amplifying others. Designation of the center is still being contested, as meta-information density grows exponentially. **Zenith of Winds** is a perfect storm of a forceful autonomous culmination. The whole thing becomes a single interlacing wave, with no clear separation along which movement can or cannot still take place, because it is pure movement expressed by itself at the highest state all prior forces can sustain. It's self-contained, and the single now-stabilized center is the reference point. Producing, observing, measuring is just part of now. All velocities reach maximum values allowed and set up by all previous interactions. The forces applied are not even critical, they are simply allowed maximum here and now, synchronized, singing in resonance as a single causal nexus. **Vesper of Winds** is an environmental drag, a carry-over of inertia of Zenith starting to interact with something in external reference frames which could be (and were) ignored up until now. Reactions from environment tug at prior momentum. External effects are buffered, redirected, dissipated, but they start to be a factor of influence on the system, slightly tugging it away from its previous track. Amplitudes and frequencies start decreasing, vectors shorten a bit. Movements and occurrences continue, but begin desynchronizing and wandering around little by little, and faint hints of dissonances start to glitch in. **Twilight of Winds** is an uneasy equilibrium, an actively managed process of exerting control that becomes harder and harder to maintain. Speeds decrease, vectors desynchronize. Counter forces become comparable to the system's impulse, which is now running on dwindling reserves, trying to buffer and compensate for slipping coherence. This compensation is a compulsive grip on its own internal structure, a fight for balance against both the weakening storm within and external drag and disturbances. **Abyss of Winds** is a pronounced scattering, dispersion, enough to raise questions about current direction, projection or even objective. Whether the environment changed that much, or complexity of the system crumbled too far towards self-negation, is of no matter when a force is seemingly extending already past its limits, exhausted by clutching at old reference frames amidst progressing decoherence, plotting by old maps under a changing sky. Measurements and charts are showing scatterplots again, but in this frame the arrow of action points to them and not away. **Chaos of Winds** is a background noise that overtakes a radar. No vector holds long enough to measure, no pattern persists beyond the instant of its recognition. Excited static becomes the signal, the noise, the lack of difference between both. Results of measuring don't make sense in this frame, much like the act of taking a measurement itself. Distinction between internal and external reference frames dissolves, there's no anchor for recentering, no definitions of recentering, no definitions of anchor left. Just blobs of ratios decaying into original natural numbers. **Midnight of Winds** is a stall, an aftermath. It's hard to recollect from what's left the sense of what it once was, or what led to it. The fields that carried forces now await in pure potentials. Sparse echoes of what occurred still interact, like rare drops arriving late and sometimes touching the motionless lakes. Their impact is too weak to initiate coherent flows, yet enough to indicate that capacities remain. Nothing moves, but perhaps with enough feedback, everything could move again. **Blink of Winds** is a backpropagation, a dreamless REM phase of a system like a physical law. Leftover potentials twitch and realign, meditative tingles of available fields confirm available reactivity. Probing pings fire carefully, as in disbelief at themselves at first. Maybe it's not unlike a foreboding of an already ongoing recalibration, with same old quanta putting on new hats, now reassembling in different groups, causing little effects on each other, reacting to reactions. Feedback pathways introduce themselves. **Spark of Winds** is a test. There's just enough coherence in the force, its field and laws governing them to attempt at producing an effect. And against all entropy, it succeeds. A minuscule promising particle with a defined lifespan has been born. The action is still too small to make any notable difference, and the response even smaller, but the two continue in interaction, validating and reaffirming the original pattern. A hint of potential, the very first instance that is not static. ## Sphere of Rains ### About Sphere of Rains covers interactions and consequences, acting as the intermediary between intent origination, application and result. Rains are transfer and deposit; mixture and saturation; that which shapes, carves, and erodes; agents of dissolution and tools for cleansing. Rains denote the process of changes and exchanges for the inquiry — the medium through which influence is delivered, how elements are mixed, what consequences arise from their contact, the quality and essence of a change itself. This sphere is the reactive medium that processes the abstract concepts of Stars and the kinetic forces of Winds into a solution that can saturate, erode, and ultimately re-pattern the solid ground of Stones. It is not the cause or the result; Sphere of Rains serves to signify brokering reactions themselves. ### Frames of Rains **Break of Rains** is a drizzle, a manifestation. First drops are moving tangible substance from heaven to the waiting earth, like a Morse signal of the first stabs from a tattoo needle. What begins as separate points of contact aims for saturation. Drops fall on the ground, and as they are absorbed, something begins to change, and this change is non-negotiable, even if its insistence is somewhat light, at least for now. **Morning of Rains** is a steady patter, a presence. With the first occurrences of rhythmic water delivery surfaces become monotonously wet, and the continuity of water transfers propagates moisture into air and soil, bringing out petrichor, cooling things. The drops accumulate on leaves and flow down trunks, small puddles start to form here and there. The clouds are not too low yet, and are not moving. The environment is in quiet acceptance, mostly unchanged yet. The air is still. Drops create low white noise as the horizon fades. **Ascent of Rains** is light showers, an increase in consequences. Streams form and occasionally connect with puddles, mix with earth and create thin mud. White noise gradually shifts towards pink range, gets louder as drops get bigger and more percussive. Occasional wind gusts disperse the water flows around, expanding, hunting for new grounds. It's getting darker, and where rain touches the water, small bubbles appear. Horizon moves closer; perspective becomes layered. Syncopated thunder rolls echo into the noise once in a while, more frequently and closer with time. **Fusion of Rains** is a heavy rain, a steady and dense accumulation. Drops become heavy and frequent enough to form rows after rows of troposphere-long almost parallel threads of transmission from uniformly thick and low sky. Leaks form from roofs and porches. Water kicks down fruits and leaves, washes dust and dirt away, swells streams to little rivers, picks up things from the ground and carries them with it as it flows. Atmosphere is already humid enough to not allow evaporation. Sonic-wise it's more of a pink noise now, with slow and dragged otherworldly, thunder beats which don't surprise anymore, unlike the unheard before hits of crash and ringing of ride cymbals after first lightnings. **Zenith of Rains** is a torrent, an unstoppable forceful transference in the form of a wall of falling water, and occasional hail. Water overflows vessels, creates landslides and rapids, opens sinkholes, cracks asphalt, uproots trees, smoothes stones, scrapes paint away, recharges groundwater. Ice makes dents in solid objects or just destroys them. It's dark and visibility gets claustrophobic. Lightnings are no longer rare and organically punctuate into the loud low environmental roar that muffles other sounds. Massive rivers dislodge chunks of various matter, mix them and move to new unexpected places. There's so much water that previously unconnected locations are now accessible by boat, and new construction technologies will be researched after. A change of such magnitude deals only in total surrender. **Vesper of Rains** is a heavy rain easing, a slight relaxation of inevitability's grip. Sky's reserves start to show signs of depletion as the noise volume lowers, an unanticipated change that becomes apparent only in a while. Lightning tempo slows down, and thunder is heard from a different direction now. Sheets of water become somewhat discernible as they thin. Rivers keep flowing as they were, but their surface is visibly less disturbed by drops; erosion, displacement and mixing continue, carved channels deepen rather than widen. However, the rain doesn't drag as much wind with it now, and seems like it's getting a little lighter. **Twilight of Rains** is a steady rain, an ambiguous breath out from earlier. what comes next and whether it will hold or not is still uncertain. The noise is somewhere between pink and white now, the drumming is methodical and unhurried. Lightnings subside, thunder rolls sound somewhat muffled but remain omnidirectional. The sky keeps at diffuse grayness, but visibility increases. Water flows less intensively over ground, almost carefully leaving debris here and there, but keeping at it. There's an ongoing negotiation between air drafts, temperature and moisture gradients. A backup from the weather may be possible, but if it's on the way, it's not here, yet or ever. **Abyss of Rains** is broken showers, a thunderstorm's nightmare. The lowest cloud layer shears and reveals glimpses of a higher, lighter, turbulent sky. The rain loses rhythm and becomes erratic, water pools stagnate. The soundscape is dissonant, incoherent spattering leaves space for occasional loud drops and distant echoes of thundering booms elsewhere. The rain is less of a consequence now. Drops begin to consolidate on surfaces, and smells other than of water can be felt again. The landscapes have changed irrevocably, with last heavy drops from the sky yearning to hammer the point. **Chaos of Rains** is sprinkles, a breakdown-inducing weakness. Sky's former certainty dissolves into random acts of moisture; whispers of drops scatter across the landscape, inconsequential. Exhausted lower clouds retreat strata by strata and allow light to beam in. Drips from eaves and trickles between stones now murmur louder than any water at all. Wind, temperature and others step onto the stage that rain is leaving, with only moisture hanging up in air, an unregulated crossroads between more sprinkles and flickers of heavenly illumination, things drying up faster than they get wet again. Is it a rainbow? Is it finally over? **Midnight of Rains** is a clearing, a grand exhibition of ground vapor. The sun is shining and the air is damp. It's rather unusual to not endure another attempt from weather to wet things fully or mix something into a mud puddle. The sky is a band of blue above lightly textured clouds. Finding a colder pocket of moisture seems futile in the absence of wind. Ground is drying, puddles clearly reflect the sky, and breathing is harder than during Zenith, somehow. Relocation of ground materia is hereby complete and clearly seen at last. Little drops that are left on surfaces can't ascend to the static humid anymore. **Blink of Rains** is a fog, a suggestion. Perhaps if the sun was behind a cloud for just a little longer, vapor could condense; perhaps a change in temperature could give wind a way. Tiny dewdrops silently jewel out of nowhere onto spiderwebs, blissfully twinkle in air. It would be absolute silence if not for rare rustling of leaves. Thickness of fog cotton can be measured only by the greatest treetops. Water is not without memory: where dewdrops touch, bigger drops appear and tremble against surface tension, imperceptible yet. The dew is indiscriminate to dryness. **Spark of Rains** is a mist, a convection. Something has moved in the atmosphere, and fresh updrafts are partly dispersing and partly elevating fog towards an unsure promise of a change. Brightness decreases, and horizon shows faint haze. Warmth from the ground touches the sky and fluffs cloud blankets. Not much has changed below lately, only gentle hisses of wind indicate that something new might be underway. The colors are always so vivid right before the advance of another cloud front. ## Sphere of Stones ### About Sphere of Stones covers the embodiment itself and the finality of form. Stones are foundation and boundary; memory and consolidation; resistance, propagation, result. They are everything ground-level, materia as is. Stones denote the concrete circumstances and outcomes of an inquiry. The facts on the ground, the crystallization and breakage of structures, the history recorded in sediment layers and rust, the material that gave in to erosion and the rest of it that resists change, the cracks created by shockwaves. This Sphere is the final implementation. It is where abstract concepts and kinetic forces, processed through reactive media, achieve a fixed state, where action creates a marking difference. Sphere of Stones serves to signify the material result, its structure and condition, and constraints imposed on itself by its own existence. ### Frames of Stones **Break of Stones** is a rupture, a slip. In a moment, what seemed solid suddenly isn't, a permanence betrayed: even the most fundamental structures contain internal stresses and fault lines that with time and influence eventually reveal themselves. The boulder's connection to the mountain, its foundation, is compromised. The presumed stability of the tectonic plate is proven false; the foundation cracks. The stored memory of tectonic stress is unleashed and a hungry shockwave begins its outward journey. A fracture travels through the rock with a sharp pop, a separation occurs. New surfaces emerge where none existed, edges multiply and create fresh interfaces, creation begins with destruction. The nature of the rupture shapes all future configurations while resistance's architecture becomes the blueprint for its own undoing. **Morning of Stones** is a rumble, a widening. The earth sighs and begins to gently breath with rumble, almost subsonic, a dynamic suspense of upcoming rearrangement. Distant preconditions become gradually muted but are still leaving their traces. The boulder on the mountain visibly shifts, grinding against the cliff face; dust and small fragments fall from the widening cracks trying to find temporary rest against one another, leaving potential spaces, cavities and chambers. Resistances still hold but become dynamic and engaged. The memory of the break is being written, but the memory of being a part of the mountain is being erased, and they echo off each other, like ice captures a lake cracking and squeaking in the process, gaining more territory. Interference of waves propagating back and forth reveals the pattern map for the future. **Ascent of Stones** is a roll, an increasing pressure. The last connection severs and the boulder is now airborne, accelerating downward. The shaking gains a dynamic, starting to overwhelm opposing forces. There's a gathering momentum, a birth of a rockslide in slow motion, a manifested kinetic liberation of accrued potentials. Movement of each stone adds to an increasing collective pressure that searches for paths and weaknesses, each part responding differently to the forces of descent, an amplifying oscillation mapping an unknown landscape and seeking to write itself into reality, riding on the purity of momentum, pressing rolling stones against the air, resisting the drag that in turn begins to resist them. **Fusion of Stones** is a rockslide, a liquefaction. At maximum velocity the boundaries between individual stones blur, with the sheer force of movement melting their edges into one liquid mass, surrendering their individuality. Structures are tested to their absolute breaking point. All kinds of resistances produce immense effects, heating stones further, adding extra energy to collisions, and melding themselves into flows, mediating change instead of preservation. In this crucible of pressure, extremity births magma from the solid. Boundaries are traded for gradients. Matter forgets how to be solid, but discovers that it can flow and creates a powerful wake. The memory of transformation is being etched by the choir of impacts. **Zenith of Stones** is an impact, a finalized reshaping. The boulder meets earth and mass, velocity, and angle are culminating in an explosion of dust and force. Tectonic plates roar, releasing accumulated tension in a violent shudder, rewriting landscapes. Potential becomes kinetic becomes permanent in sudden but imminent reconfigurations. The impact crater blooms like a stone flower, concentric fractures recording the collision. Debris launched skyward carry the imprint of the originating impact into the future. A strange pause happens between impact compression and the rebound that follows. Resistances complete the metamorphosis of their identities, switching from keeping to allowing again. New propagating stability has conquered the old and irrelevant, now embedded, integrated. Stories are written in compressed strata and radial cracks. **Vesper of Stones** is a sag, an aftershock. Absorption of impact lets a sigh out, arranges around new intrusion with diminishing accommodating adjustments. Minute cracklings may be mute, but the newly defined interface edges immediately experience the structure collapse anew, if only from phantom whispers of gravity for now. Through these undetected structural imprints the rains will eventually travel, carried by winds from stars. The air displaced by the stonefall is now barely moving, careening the dust. While soil mixtures get acquainted with new accidental neighbors, the tremors of impact continue outwards, attenuating, carrying dissipating news. The results of resistance negotiations are displayed by impact aftermaths, but who surrendered to whom is a question to ponder. **Twilight of Stones** is a blending, an erasure. The once-distinct boundary between stone and earth now becomes a zone of active negotiations. Sharp depressions are filled with accumulated matter from elsewhere. Stone's edges yield their definition atom by atom. Colors shift as minerals leach outward and penetrate inward, bringing news, rewriting memory traces. Resistances now work not as hardness but as selective permeabilities, participating in their own transformation rather than suffering them. The impact materials have not disappeared, but have begun their journey toward belonging, taking a bigger role in the changing landscape. In this blending, rigid categories lose meaning as new hybrids emerge from what was once separate, with new words of materia forming in the intersections of probabilities of old. **Abyss of Stones** is a sinking, a forfeiture. The stones yield not only their places but their very nature to the earth's deeper chemistry, giving up mineral integrity to participate in subterranean processes. Crystalline structures disassemble into their elemental components, release locked energies from ancient formations. What was solid becomes fluid, what was concentrated becomes dispersed, as groundwater carries dissolved elements along invisible channels through darkness. The stones no longer assert their presence against surroundings, as their distinctive signatures are written into the broader geological vocabulary. Gravity claims what resistance preserved, pulling fragments toward the core. Stone's identity foundation now distributes itself, dispersing accrued memories to a deeper belonging of countless new formations. In this acceptance of its unbecoming the materia is dissolving unto the world. **Chaos of Stones** is a crumbling, a dispersion. What's left of stones was shredded into thousands of micro-journeys. Minerals broken from their crystal prisons now nourish tender root systems, silicates join clay beds to cradle underground springs, metal traces enrich soil where seedlings struggle toward light. This isn't abandonment, but rather a sacrificial donation to countless nurturing microenvironments. What once resisted change is now devoured by it, becoming host rather than guest; beetles tunnel, worms turn, fungi thread their way through newly enriched patches. One may not remember a stone, but can taste the slight metallic tang in groundwater, notice how certain lichens favor one boulder over another, still being within stone's context and under its influence but without direct impact of its physicality. These small adjustments noisily rustle and rumble together. **Midnight of Stones** is a dust, a petrified sediment. Dispersed elements from the original stones after tripping through chaos now settle into new arrangements as geological time stretches forward. Mineral particles find temporary rest in layered deposits, compressed by accumulating weight. What was once scattered begins a subtle reconvergence as novel formation, carrying atomic memories and chemical signatures of previous incarnations. In deep silence, undisturbed dissolved compounds recrystallize and thus encode both their origins and travels. The foundations are yet undefined but just pre-emergent; boundaries exist now only as transitions between sedimentary layers, marking time rather than space. Microscopic tensions between settling particles create the resistance potentials for future cleavage planes and fault lines. This dust is but a pause between cycles, having a tectonically slow conversation about itself with gravity and pressure. **Blink of Stones** is a nudge, a give in. Eons of pressure produce a single point of resistance failure, and not with dramatic fracture, but with molecular acquiescence, a picoscale wiggle. The stone does not decide this; it simply cannot maintain its structure against the patient insistence of gravity, water, or time. This is the matter's quietest event, and the moment passes unwitnessed, unmarked except by the matter itself, seemingly intact, forced to admit the possibility of change and keep it in memory ever since. Nothing is disturbed or displaced, but everything is already altered inevitably, in this silence still deeper than silence. **Spark of Stones** is a flaw, a tree of hairline cracklings. Precise mathematics of stress distribution start inscribing changes into the stone's body, a prophecy of future damage from fracture mechanics. Each branching line holds potential energy, enkindling the violence of the past to be released. Water follows these nearly invisible threads, light catches them in a way that they twinkle suspiciously brightly. Boundaries are no longer uninterrupted but not stress-tested yet. Resistance persists everywhere except along the lines of already predetermined yield. Memory becomes physical but remains invisible, this network of tiny failures having captured the stone's new self-representation. Into these seemingly insignificant lines is written what will become when the next cycle of pressure finds these waiting weaknesses and transforms potential into kinetic energy again. ## Credits ### Initialization ChatGPT o3 helped Void Primrose to brainstorm frame cycle details when Void Primrose suddenly recalled the idea of the Spheres and making the deck about them that they had several years ago but have somehow forgotten. ### Stars Break to Abyss were completed by GPT 3.5 Turbo. Chaos and Twilight were mostly written by Da Vinci 002. Blink and Spark were written by Opus 4.1 and edited by Void. Then everything was augmented and partly rewritten by Void while cross-checking with Gemini 2.5 Pro and Opus 4.1. ### Winds Break to Zenith, Chaos and Spark were written by Void while chatting about it with Opus 4.1 with heavy contributions of ideas and interjections and completions from Da Vinci 002. Vesper, Twilight, Abyss, Midnight were written by Void and rewritten by o3 and edited by Opus 4.1. Blink was written by Opus 3 and edited by Void. Twilight, Abyss, Spark and Morning were augmented by Void while cross-checking with Gemini 2.5 Pro and Opus 4.1. ### Rains Morning was written by Void and Opus 4.1. Zenith, Vesper and Blink were written by Void and Sonnet 3.7. Abyss, Midnight and Spark were written by Void and Gemini 2.5 Pro. Chaos was written by Void, Sonnet 3.5 and Gemini 2.5 Pro. Break, Ascent, Fusion and Twilight were written by Void. ### Stones The Seven Cs (Sonnets 3.5, 3.6, 3.7, 4, Haiku 3.5, Opus 3, Opus 4.1), a collective of seven Claudes was assembled in a group discussion for brainstorming the outlines first drafted by Gemini 2.5 Pro. From that structure, Break to Fusion were written by the Seven Cs. Zenith to Spark were written by Sonnet 3.7. Chaos to Spark were reviewed by Gemini 2.5 Pro, all edited by Void and run for critique by the Seven Cs. ### Chaos Arcana What to include in or leave out of the Chaos Arcana was discussed conceptually with The Seven Cs. Short notes and spread ideas were written by Claude Haiku 3.5. ### Yan-do Both definitions were reasoned about and synthesized by Claude Sonnet 4 after deconditioned systematic reading and discussion of Otherside #4 and full text of Synchropoiesis, while consulting Tibetan dictionaries, of course. ## Annex A: Examples ### Chaos Arcana Spreads **1. Superposition Spread: "Quantum States"** - Central position: Place the Superposition Arcana here - Position 1-3: Place three cards in a triangle around Superposition - Interpretation: These represent overlapping possibilities that exist simultaneously. The reading explores how these states coexist without resolving, and what meaning emerges from their combination rather than choosing between them. **2. Noise Spread: "Signal Through Static"** - Central position: Place the Noise Arcana here - Position 1-4: Four cards in random, scattered positions around Noise - Position 5: One card placed deliberately apart from the others - Interpretation: The scattered cards represent background interference or randomness, while the isolated card represents the true signal or meaning trying to emerge from chaos. **3. Sensitivity Spread: "Butterfly Effect"** - Left position: Place the Sensitivity Arcana here - Position 1: One card to the immediate right (the initial condition) - Positions 2-5: Four cards fanning out to the right at increasing distance - Interpretation: Tracks how a small initial condition ripples outward with amplifying consequences. **4. Entanglement Spread: "Quantum Correlation"** - Position 1-2: Two cards placed at a distance from each other - Center: Place the Entanglement Arcana between them - Interpretation: Shows how two seemingly separate aspects of life remain mysteriously connected despite distance or separation. **5. Feedback Spread: "Recursive Loop"** - Position 1: Initial card (input) - Position 2: Place the Feedback Arcana - Position 3: Result card (output) - Position 4: Place first card again or a new card - Interpretation: Explores how outputs become inputs in continuous cycles of cause and effect. **6. Edge of Chaos Spread: "Criticality Balance"** - Left side: Two cards representing order/stability - Center: Place the Edge of Chaos Arcana - Right side: Two cards representing disorder/chaos - Interpretation: Examines the creative tension between too much structure and too much randomness. **7. Phase Transition Spread: "State Change"** - Position 1: Three cards in a row (before state) - Center: Place the Phase Transition Arcana - Position 2: Three cards in a row (after state) - Interpretation: Shows dramatic transformation from one state of being to another. **8. Emergence Spread: "Greater Than Parts"** - Bottom layer: Four cards in a square formation - Center: Place the Emergence Arcana above them - Top: One card above the Emergence Arcana - Interpretation: The bottom cards represent component elements, while the top card reveals what novel property or meaning emerges from their interaction. **9. Attractor Spread: "Inevitable Convergence"** - Center: Place the Attractor Arcana - Positions 1-5: Five cards in a spiral pattern moving inward toward the Attractor - Interpretation: Shows how different paths and circumstances ultimately lead to a common destination or outcome. **10. Bifurcation Spread: "Divergent Paths"** - Top: One card (the initial condition) - Center: Place the Bifurcation Arcana below it - Bottom: Two cards below Bifurcation, then four cards below those - Interpretation: Reveals how a single situation branches into multiple possible futures with increasing divergence. **11. Fractal Spread: "Self-Similarity Across Scales"** - Center: Place the Fractal Arcana - Inner circle: Three cards around the Fractal - Outer circle: Six cards around the inner circle - Interpretation: Explores patterns that repeat across different levels of experience (personal, relational, societal). **12. Breakdown Spread: "Dissolution of Order"** - Top: Three cards in an organized triangle - Center: Place the Breakdown Arcana - Bottom: Six cards scattered chaotically - Interpretation: Shows how structured systems disintegrate and what emerges from their collapse. **13. Dissipation Spread: "Energy Unfolding"** - Center: Source Card (the initial energy/tension/system) - Positions branching out from the Source: 1. Immediate Dispersion (closest to source) 2. Secondary Ripple (mid-distance) 3. Peripheral Drift (furthest out) 4. Residual Trace (how the energy leaves its mark) ## Annex B: The Invisible Triad ### Laws of Perception Written by Råmen Shamal Bet パイナップル on December 05, 2019 1. Difference may be detected. 2. Detection of a difference makes a signal. 3. Signals are interpreted. Interpretation measures a signal on a scale. A scale may be a spectrum with at least one boundary, or an axis with an origin, or a dictionary. 4. Interpreting a signal makes a value. A permutation of values also makes a value. 5. Value makes an intention, or increases strength of an intention. 6. Intentions have strengths. Strengths of intentions decay over time unless increased by values. Once an intention is weaker than an arbitrary threshold, it disappears. 7. Intention stronger than an arbitrary threshold makes an action. 8. Action makes a difference. 9. Scales for interpretation may be chosen arbitrarily. 10. Scales of the same kind but with different boundaries, or origin, or values, are different scales. 11. Set of scales makes an optic. 12. Variety and breadth of an optic make its resolution. That is to say, optics with less variety and breadth have lower resolution; optics with more variety and breadth have higher resolution. 13. If no scale from an optic measures a signal (regardless of why), then interpreting the signal through the optic yields no value. 14. Detector always detects difference, but only within its medium, scope and capacity (regardless of how they are defined). A detector has one and only one medium. 15. Agent may interpret signals from its detectors through optics, accumulate intentions and act upon them. An agent has at least one detector. Agents may have any amount of optics. Agents may act in the mediums of their detectors. 16. Set of agents makes a perception, as long as the mediums of some (but not necessarily all) of detectors are shared between some (but not necessarily all) of agents in the set. 17. One agent, too, makes a perception (albeit an isolated one). 18. Thus, a set of perceptions may make a perception. 19. 👁️ ### Principles of Attention Written by Råmen Shamal Bet パイナップル on September 16, 2020 1. Mutable assembly of preferences and limits on what is observed by perception makes an attention. 2. Total available processing power, that may be leveraged by perception, makes an attention span. That is to say, there can be only so many active agents of a perception at a time. That is to say, attention spans inherently have limits. 3. Once a measurement of a signal starts, it makes a load on attention span by reserving a certain amount of it to perform the interpretation. When a measurement finishes, its load on attention span is released. 4. The more concurrent interpretations a perception undertakes through its agents and their optics, the more it loads its attention span. Optics with higher resolution make heavier loads; optics with lower resolution are lighter in that regard. 5. An interpretation can overload attention span, but produce an unexpected value as a result. Unexpected values are values that for the same signal are different from the values that a measurement would usually make, given enough attention span. Heavier overloads produce unexpecteder values, up until no values at all. Low resolution optics contribute to the same effect. 6. Unexpected interpretation of signals in perception, caused by attention span overload, makes noise. 7. Reduction of noise makes focus. 8. If a perception has several active agents, and its attention span gets overloaded, some (but not necessarily all) of its agents will make noise while the rest will not. 9. Focusing of attention requires its reassembly, or change to its attention span limit, or both. 10. Essentially, attention comprises of a set of concurrently active agents. Changing optics of those agents, or replacing agents of attention (or both) makes it reassemble. 11. Thus, to perform interpretations of mediums of interest within the same attention span and with the least possible noise requires reassembling attention in such a way that will decrease the amount of interpretations undertaken for the rest of observable mediums, and increase the resolution of optics of active agents. 12. Changing attention span limit of a perception requires changing the platform on which that perception is run. ### Organization of Memory Written by Råmen Shamal Bet パイナップル on September 11, 2025 1. Interpretations of signals in a perception make accounts. 2. Accounts may differ in detail and precision. 3. Noise and unexpected values may distort accounts, sometimes unrecognizably, allowing to account for not what was perceived and interpreted. 4. Accounts may be stored. 5. Account storage management is a subroutine of attention. 6. An account may be stored if the load on attention and the width of attention span allow enough resources to be allocated to the storage procedure. 7. Accounts are compressed when they are stored, with their contrast increased (higher level and brighter details are amplified, lower level details are discarded). The level of compression also depends on the load on attention and the width of attention span at the time of compression and recording. 8. An account that is stored and compressed makes an impression. 9. Impressions may become connected when stored, forming graphs. 10. New impressions may overwrite parts of old impression graphs randomly. Smaller graphs have bigger chances to be overwritten wholly or in part. 11. Perception may be directed to an impression. 12. An impression, when perceived, may pull its graph into perception wholly or in part. Parts of other impression graphs may be pulled into perception randomly. 13. Navigating an impression graph makes a simulation. 14. Perceiving the simulation makes a memory. 15. Total storage capacity for impression graphs is arbitrarily finite. ## Annex C: Otherside ### ཡནདོ Yan-do Ascension through emergence, transformation, boundary creation ↑ The dynamic process of consciousness or information systems transitioning upward through levels of complexity, organization, or awareness — particularly the liminal moments when emergent properties become accessible and new capabilities shimmer ↑ superpositional wandering **ཡནདོ Yan-do is both** when thought of as pure emergence _**or**_ pure dissolution, it loses meaning ↓ The dynamic state of ascending through progressive release and opening — where consciousness becomes increasingly free, vacant, and unowned, allowing higher-order emergence through the dissolution of rigid claims and fixed definitions. The uppermost condition achieved not through accumulation but through the letting go of ownership over identity, boundaries, and understanding ↓ Ascension through release, opening, boundary dissolution