3. The World is quantized, computational, dramaturgical, and forward-going.
In our understanding, time does not exist as a separate entity but rather as an observed feature of light speed. The concept of time emerges from our perception of the progression of events at the speed of light.
Approximately 13.7 billion years ago, there was nothing in existence that can be compared to anything we know today. Entropy was extremely low, at its minimum point.
We agree that information serves as the fabric of entropy on its smallest scale. Information is a fundamental building block for computation, and the simplest computation possible involves the binary states of "Yes" and "No," analogous to 1 and 0, or Minus and Plus.
This simple computation is not only the most basic form of computation but also represents the minimum entropy possible. It is the maximum unbalanced configuration, as it transitions from a state of uniformity (heat death) with maximum entropy to a state of maximum differentiation with low entropy. Half of everything differs from another half. 50/50. That’s what maximum possible in a closed system. There is nothing else to differ from, more than that.
This scenario is akin to the thought experiment where the molecules of air in a room randomly migrate to one side, an extremely unlikely event that would require an astronomical amount of time to occur. Chances are so small that you will have to wait forever and a 7 working days after that before you will see that happen. However, it is not impossible for such a random configuration to happen.
Dramaturgy gives a hint that this exact occurrence took place in our reality approximately 13.7 billion years ago when a differentiation between 50 percent of everything and another 50 percent of everything emerged. This marked the occurrence of the lowest entropy, setting the stage for the universe or universes as we know it.
Philosophical side of question if also very intriguing. How everything can be maximum unbalanced and in the same time have perfect 50/50 balance between its different parts? Get used to it, this is the world we live in. “Yes” is not “No” but together they are all that there is, and without each other they don’t exist either.
In this way, we can perceive our world as being quantized, computational, dramaturgical, and continually moving forward. The universe is not static but constantly evolves, driven by the unfolding of computational events and the interplay of dramaturgy that is called entropy in general. When “Yes” and “No” tend to mix again and become one.
So, the absolutely stable state of maximum entropy possible was initially split into a 50/50 configuration, where 50% of everything reflected and saw itself in the other 50% of everything. Since that momentous occurrence in our past, these two primal aspects have been striving to merge and become one again. This dramaturgical desire drives entropy, time, the apparent complexity of simple structures, and computational irreducibility. This desire for unity and oneness is what love is all about, and it underlies the essence of everything.
Sooner or later, statistically speaking, reality has an eternity to wait for this unification to happen, for everything to mix and blend until distinctions are no longer discernible, and time is no longer experienced.
The fascinating aspect is that conscious, complex beings like humans may play an important role in driving entropy to its maximum capacity at every Planck's time step. Similar to how gas tends to fill all available space, we are inherently driven to expand ourselves until we are no longer distinguishable from everything else.
When the first simple symmetry emerged, represented by the binary states of "Yes" and "No," it gave rise to fundamental references and systems that we continue to experience today. As something that was previously unified and incomparable found something to reflect from, the concept of space emerged. Space was necessary for these two distinct entities to exist in relation to each other. The existence of mass, waves, and their frequencies followed suit, as they needed to occur in this context. This breaking and flipping of entropy was driven by dramaturgy from the very beginning.
The fundamental need for dramaturgy to occur preceded the actual splitting itself. Something beyond our current understanding and existing within our reality created the dramaturgical need for the fabric of reality to lose its balanced state and move towards an unbalanced state that now tends to increase entropy, thereby fueling time and all fundamental laws. It is truly a magnificent cycle.
Motion and time are merely fractions of this fundamental force and concept. Motion and time emerge as products of dramaturgy. When things became different, they had to relate to each other, polarizing the options from complete "Yes" to complete "No," signifying that one thing is absolutely not the same as the other. This quantum phenomenon can be seen in the spin of particles, such as electrons, where the quantum states such as minus and plus represent the basics of dramaturgy at the computational level.
This is how dramaturgy operates at the quantum scale. The next level of dramaturgy is our perception of reality in two and three dimensions, where the fundamental dramaturgy of geometric relations comes into play. For instance, the number "Pi" is one of the greatest and most spectacular dramaturgical imprints in the 2D-3D world. It is a fundamental mechanism, a descendant of entropy and a product of time.
If there is a simple circle with a perimeter, its radius must relate to it in a specific manner. As observers, we have the right to know and measure this exact correlation, which is approximately 3.14 and so on. Why 3.14 and not a 4.14? It is a fundamental characteristic of our 3D world. The number 3.14 represents a basic form of dramaturgy that originated when our world was much different, younger, and more computational. 3.14 is beyond space-time. Every circle ever existed knows that well.
Similarly, the fine structure constant, 1/137, is inserted into quantum physics like a thread into a needle. It is another inherently mathematical number, much like Pi, that is fundamental in its own right. These numbers are related to our real world and depend on time.
Calculating Pi requires an observer to measure and realize that regardless of the circle's size, the length of its outer line relates to the imaginary line from any point on the circle to its center by approximately 3.14, within the precision of Pi. This calculation cannot occur faster than one Planck's time, as light itself cannot travel significant distances during that period. Therefore, the existence of Pi as a fundamental concept requires more than one Planck's time to manifest. It is too complex to be timeless, indicating its dramaturgical nature. A weaker dramaturgical entity that is timeless is a "decision," which is made within one Planck's time. We will discuss this further on these pages.
In our four-dimensional scale, where the extra dimension is time, the perception of fundamental dramaturgy flow can be observed, experienced, and studied the most, as our human scale of reality. The fourth dimension allows a 3D object to predict what will happen in the future, skipping many computations and using that information to its advantage.
This fundamental dramaturgy, multidimensional thing, has developed a highly effective organ for transmitting itself and accelerating entropy: the human brain. Human brains, together, create the most potent dramaturgical entities, such as cultures, corporations, countries, and philosophies. Dramaturgical entities exist in the multiverse and do not solely reside within our three dimensions. They enter our world as multidimensional creatures, diving in and out like dolphins spotted on the 2D surface of an ocean.
It would be difficult and unnecessary to find hundreds of tons of gold, scattered in bits all over the planet, and merge them into blocks and jewels if it weren't for dramaturgy! It is dramaturgy that transforms those particles of golden dust into objects of desire, worth sacrificing for.
