ribbonfarm

I’ve been trying to make up the simplest, most banal definitions of concepts that interest me lately, and seeing how far I can get with them. One I just made up is: a narrative is a road in time, and a story is a particular journey taken along that road. As an example, premium mediocre is a superhighway of a narrative that connected 2007 to 2015, and many of us living lives in Blue America during that period were living out particular stories within that narrative. That narrative is being extended out to 2020 and beyond, but is struggling now. It is no longer a well-maintained, heavily trafficked 8-lane superhighway. It is slowly turning into a poorly maintained one-lane rural dirt road that is permanently backed up. You need personal off-roading capabilities — read wealth — to stick to the premium mediocre road, or you have to get on a different road.

An idea can leak to the extent it has a name that is meaningful within a larger context. A name is, in a sense, a key that unlocks the significance of the contents of the interior of the named idea in terms of signifiers that exist in the exterior environment. But a name also binds and reshapes a new idea to forms that already exist, via metaphor, symmetries, isomorphisms, or rhymes. What one might call idea-socialization mechanisms.

In the Rick and Morty multiverse, our universe is “Dimension C-137 on the Central Finite Curve”. The logic of the vaguely topological sounding pseudomath name appears to have eluded fans so far. It is a name that only makes sense at the multiverse level, where the context of reference is a plurality of universes. Our universe wouldn’t even need a meaningless number without a multiverse reference context. But a number is a rather empty context in a sense: one that contains nothing but reference pointers to subordinate universes. It’s a pure addressing layer, with all actual content and structure, including distinguishable Ricks and Mortys, existing at the leaf level. The alphanumeric designator vaguely suggests two dimensions, and “central finite curve” suggests some sort of manifold within a higher-dimensional space of possibilities (Reddit suspects it is the subset of realities where Ricks exist).

The same kind of logic also applies to our own non-fictional universe. In my lifetime, I’ve seen the address of our home galaxy acquire a new level of named referencing. The Milky Way is no longer just part of the “local group” and “Virgo supercluster” (now an appendage). We are now part of the larger Laniakea supercluster, which puts us in some meaningful patterns of weirdly synchronized galactic rotations created by large-scale structures of hydrogen and dark matter apparently.

To go from meaningless reference number to meaningful name is to have an idea leak from its original container and enter into a condition of entanglement with neighboring realities. The synchronization of galactic rotations within the Laniakea supercluster, due to large-scale structure, is a leakage of the idea of the Milky Way galaxy, a sort of broader smearing of its identity. And with it, a smearing of your identity.

You, individually, are rotating in synchronization with galaxies 120 million lightyears away.

If you, like me, once wrote down your full cosmic address as a kid, with your name on the first line and “Virgo Supercluster” as the last line, that address now has a new last line, and it actually says something meaningful about you: how you are rotating.

When I was a kid, several of my friends owned a kind of toy remote control car with only one control: forward/backward. These cars had three wheels, and the third rear wheel was a caster. The car went forward in a straight line, but backwards in a circle. You steered by backing up to reorient, then going forward again. The caster was either left or right-handed, so backing up always turned you in a consistent direction. To go the other way, you’d have to back up more than 180 degrees.

To be present in a seat in a movie theater is to pay attention to a movie for a couple of hours, tuning out the few distractions, and giving in to the carefully crafted temptation to escapism. To be present, outside of a vehicle, in the middle of a busy, high-speed intersection, is to pay attention to half a dozen largely unrelated things every second, with the set of things changing every few seconds, while everybody gets mad at you.