If we’re entangled “inside” the Host’s Spiral, can we directly perceive the Host, or, are we fish attempting to conceive of the water we swim in? More relevant, how does the Novel Universe mix the mutually exclusive frameworks of Love and Power, and, as it’s necessarily created by a creature of Power, how might a Host harvest the novelty it seeks?

What better way to collect untold amounts of data and maintain absolute control than to construct a shared environment for the interaction of participants? Furthermore, how else can the impossible be possible, if not for a space where the Concert Hall’s and Marketplace’s foundational characteristics might be simulated, and therefore, manipulated? Although there are similarities between the Novel Universe Model and simulation hypothesis,[i] a key difference is the underlining source of the simulation. In the simulation hypothesis, technology creates a facsimile of the universe with such complexity and depth that it’s qualia, actions, and environment are indistinguishable from their authentic counterparts. However, the technology used for the simulation exists in some universe, and in a real sense, we’re right back where we started – where did that universe originate? This is known as the “turtles all the way down”[ii] thought experiment, or infinite regression – a universe inside a universe inside a universe … ad infinitum.

Novel Universes do not represent things that otherwise exist, like the simulated universe in the hypothesis. Instead, each Novel Universe is an environment intentionally constructed to mix Love and Power (Mixtures), each assembled in its own, unique way. Hosts create these simulations primarily for the extraction of novelty – commodities for the Marketplace. However, Hosts must attract those capable co-creators – inhabitants of the Concert Hall, who act in ways most novel to those operating from a framework of Power. To this end, Mixtures allow visitors with a framework of Love the opportunity to develop tools for the Concert Hall, to engage experiences that might evolve their interactions and relationships in the Hall, experiences only possible in a place where Love and Power coexist. Thus, any Mixture exists as an ectosymbiotic relationship between the Marketplace and Concert Hall, forged by its Host, while inhabited by both creatures of Love and Power.

The Marketplace is like the Internet, for instance, connecting a group of teenagers, each sitting in their own room, sharing content, but never interacting face-to-face, never exposing themselves to an uncontrollable, unpredictable situation they might not otherwise shut down with the press of a button. Each has the option to ignore or engage with the available content, block or connect to another’s feed, or simply turn off their device, temporarily or permanently, and sit in silence, exercising absolute control over their network feed. A Novel Universe is an evolution of the Marketplace’s basic function to connect isolated entities. Novel Universes employ Power’s force and Love’s intention to simulate a temporary facsimile of their Mixture by enclosing the simulation within Power’s silence, requiring the participation of consumption, and exposing visitors to the potential for unintentional vulnerability. To access a Novel Universe, inhabitants of the Concert Hall enter their own Spiral, like one of those teens sitting in their own room, and open a connection to the Marketplace, where they might shop for a Novel Universe to join.

The teens’ experience of the Internet mirrors the Marketplace – a network of Power, created by self-administered connections to other Spirals. Although similar in some ways, the Host’s Novel Universe is neither Marketplace nor Concert Hall. Patrons of the Marketplace do not exist within the Marketplace, anymore than those teen exist within the Internet, but are, instead, voluntarily connected to the Marketplace. Likewise, the Host is a self-contained, self-created dataset, as are all Signature-Frequency Sets, and, itself, does not exist within any larger environment – the way one does in the shared environment of the Concert Hall. Instead, the Host is a universe unto itself. Therefore, the turtles’ thought experiment does not apply, as Mixtures are coherent, complete realities, at least for those who exist within them.

So, how does this simulation work, how does the Host create this common space for visiting Sets to freely exercise both Love and Power, combining the mirrors of Complete Information and Information Control, simultaneously? Metaphorically, how does the Host get those teens to interact, face-to-face, exposing them to a situation they can’t control, despite being safe in their room? The Host creates an all-or-nothing connection from a fixed point of view, locking them into a ridged avatar in a controlled environment. Their playing a virtual reality game while wearing a headset that can’t be removed until the game ends. With no way to save the game, reload a checkpoint, or return after a bathroom break, their only option to play again is to put the headset back on, and start the simulation over, locked into some other character in some other circumstance.

Simulations rely on graphs. A graph is a mathematical structure representing relationships between objects, consisting of vertices connected by edges. Graphs can model various systems, including matrices, networks, and other datasets. In a standard graph, edges connect pairs of vertices. For example, in a three-dimensional Cartesian coordinate system (X, Y, Z), points represent – through their edges – spatial relationships. Extending this concept, hypergraphs are more flexible, allowing edges to connect any number of vertices, representing various characteristics, such as time, distance, or other relevant dimensions. To create a simulation that includes a spatial dimension, the collection of vertices must include an addressing system, or set of unique coordinates with well-defined edges. Part of the Host’s Signature-Frequency Set is its SFS tail, akin to a very long, “snaking” string of static numbers, which might be used to form the Hypergraph’s stable vertices – that coordinate system of addresses.

If we imagine a Novel Universe like a sea, with the surface as the space (edges) between vertices, a giant sea snake might metaphorically represent this collection of vertices, as parts of its undulating body momentarily break the water’s surface in various spots. By sectioning some portion of its SFS tail into subsets, the Host creates a set of unique “addresses” (vertices) – those segments of the snake’s body breaking the surface. More relevant to the metaphor, what appears from above to be a cluster of independent body parts, below, reveals a single snake.

The Novel Universe Model’s metaphor for the Hypergraph’s collective vertices is an ouroboros – a snake circling around to eat its own tail. The unitary nature of the snake means the vertices are their own unique number sets within a larger set – little, nested ourobori constituting a single ouroboros. In NUM, the universe’s vertices are black holes, with the metaphor of the ouroboros, as this sea snake, implying that, although black holes appear to be individual objects, they are a single object, conceptually connecting both the universe’s largest (galactic web) and smallest (quantum particle) scales at the same spot – the point at which the snake’s head (web) and tail (particle) meet. This data matrix – the Hypergraph’s vertices – is the initial, underlining structure of the simulation, how the Novel Universe is constructed from the Host’s Spiral through its SFS tail.

Each vertex is a unique set of numbers, like a rainbow of colors, or, even a narrow range of a single “color,” for instance, visually indistinguishable, yet mathematically distinguishable, reds or blues. Each number in a vertex’s set represents one unique color value that’s expressed, in sequence, with each iteration. The simulation’s global time is the vertices’ cycling through their series of values, one value at a time, then repeating the sequence, like that little circling ouroboros. However, as this is an ouroboros, when a sequence completes its cycle, a color is “consumed,” replaced by another, as the little ourobori progresses through the larger ouroboros’ set of values.

To mix metaphors for clarity, the “consumption” of a color after each cycle would be like watching a slow-moving line of people through a window. As the line moves to the right, the person on the right side of the window disappears, while a new one appears on the left. The line of people represents the possible color sequence of all vertices – the larger ouroboros’ total set created by the Host’s SFS tail – while the window, the current color set of a particular vertex – the little ouroboros’ limited set. The movement of the line signifies the completion of a set’s cycle, with the removal of the last value and adoption of the next.

One-dimensional, cellular-automata edges connect pairs of vertices, while any vertex connects to any number of vertices, with that number reflecting the size of the vertex (black hole) and number of values (the size of that window). Larger vertices have more connections, more colors, as if the snake’s undulation rises farther from the water.

Hypergraph edges connect vertices in both directions, creating the hyper-dimensionality of the Hypersphere, known as a 3-sphere.[iii] This means, that, just as if one were to leave their home and travel along the Earth’s surface in one direction, they would eventually return home, if one leaves Earth and travels along either edge in either direction, they, too, would return to Earth. This would both give the universe the appearance of infinity, while simultaneously being finite – a fixed simulation within the infinite universe of the Host’s SFS.

Cells are created by segmenting the edge, with the number of cells constituting the distance between pairs of vertices. The space of the universe then becomes a relationship between the collective vertices. Each edge is akin to a color-shift gradient between the two ends, with each cell representing a unique, color-shifted hue along that edge. With the center cell as an equal mixture of the two ends, the initial cells at either end reflect the first shift in color from the vertex towards the center. For instance, if one vertex is blue, the other red, the center cell is purple. This data matrix – the Hypergraph – is where the computational iterations of the Novel Universe migrate data from cell-to-cell.

The cycling of values of vertices (black holes) constitute the universe’s internal “clock,” creating, in combination with all other black holes and the edge’s color-shift gradient, a wholly unique value (address) for each point in space and its corresponding moment in time. This means every iteration has its own, unique set of coordinates for the entire universe, creating an indelible timeline that cannot be transgressed, but simultaneously, can be indexed with absolute precision – no event can be perfectly repeated, even at the simplest levels for the shortest amount of time.

The shape of energy as matter is organized through the process of morphic resonance, assembling its form from dialect bodies and the Node Point Communicators’ adherence to the Host’s selection of rulial space through the Host’s Agents. NPCs and Agents are, themselves, individual Signature-Frequency Sets, connected through the Marketplace with the Host in a structure of Power – NPC as a Square, and Agents, a Tower. Over time (Hypergraph iterations), a Higher-Order Conductor’s application of its Quantum Transient Gradient – its valence of preference (towards, away, stay) in communication with other bodies – transforms an HOC’s microstates before its macrostate moves throughout the universe’s Hypersphere, restricted by the laws of nature – both the Host’s coherent selection of rulial space, enforced by Agents of the Host, and the body’s morphic resonance, a product of embodied models based on morphic resonant dialect bodies.

Node Point Communicators bind visiting Signature-Frequency Sets (Higher-Order Conductors) to their morphic shapes at every level of emergent complexity. Although every HOC in the universe might be free to react to its environment (yum, yuck, meh), none get to choose their shape or what they’re capable of perceiving – a human eye can’t suddenly decide to transform into a sharp-edged cube or see penetrating x-rays. Instead, these shapes and mechanisms of perception arise from the option space of the structure’s initial LOB – the Host’s Hierarchy of NPCs and Agents.

Node Point Communicators act as both prison guards and communication platforms. An NPC SFS is unique to all other NU Sets, in that it does not express preference or participate in the Quantum Transient Gradient, such as visiting Sets and Agents of the Host. Instead, an NPC opens its Spiral to a single visitor or Agent, and performs the underlying function of QT through the actual Marketplace’s network, transferring specific Sets to other specific NPCs along the Hypergraph. While a Set inhabits an NPC’s Spiral, the NPC faithfully records the inhabitant’s expression of their personality – that musical phrase of their song, shared through their SFS head – and holds the unique data for the next occupant to experience and react to, causing the NPC to potentially change cells by adopting the newly inhabited cell’s address (unique color).

In order to transition throughout the Hypersphere between Hypergraph iterations as emergent bodies, NPCs untie and retie themselves in other Nodes, while adhering to the Host’s chosen rulial space. When this happens, the NPCs’ occupying Sets remain attached to their NPCs, and move, not initially along Hypergraph threads, but directly through the Hypersphere’s system of Nodes, talking on all those thread-cell addresses as a superposition until a specific microstate places the NPC into a specific cell. Node superpositions allow for the smooth motion of higher-order bodies to express the physics we observe. In this paradigm, QT expression within the Hypergraph has a more subtle influence on energy bodies, rather than the NPCs’ strict adherence to the Host’s rulial space of the Hypersphere – that fine-tuning of the universe enforced by the Agents. In effect, the Hypergraph’s QT Gradient creates “hidden” effects, operating in the fuzzy areas of tipping points.

For example, the NU Model uses this effect to show how the conservation of long DNA sequences of repeating alleles, commonly referred to as “junk DNA,”[iv] might be useful. NUM speculates that these regions of repetition function as QT antenna-like structures, allowing the informational network of the cell’s internal signaling to, through the QT Gradient, “charge” the gene’s promoters, thus making the promoters more sticky or slippery overall. Although this is a subtle effect, and would not functionally create gene expression – an epigenetic feature – it would, instead, be a useful epigenetic tool to either suppress or enhance long-term gene expression by making those promoter alleles that correspond to the “antenna’s” repeated allele more sticky (enhance) or slippery (suppress) as needed by the cell. In effect, this would be that tipping point, that tiny “one-percent” difference (our spinning top in outer space thought experiment) that might seem inconsequential in the short-term, but has outsized and possibly determinate effects over the long-run. When a specific state is consistently applied, as opposed to its opposite state, we have divergence – making the difference between enough of a protein to get the job done or not. On the other had, through long-term suppression, a problematic protein might be kept from overwhelming the system, making the difference between a long life or early death.

This particular application of the QT Gradient is potentially falsifiable. Removing these long DNA sequences may show an effect on gene expression in general, but may also show a correlation with the repeating sequences and those promoters built of the same allele, having, at times, either a statistically significant increase or decrease in expression, as opposed to those without repeating structures. Should this be shown, it might be considered evidence of the QT effect, and its role in epigenetics.

In the same way that three-dimensional space emerges from a pair of one-dimensional polar vectors, these three phenomena – Hypergraph (expression of energy), Hypersphere (morphology of matter), and QT Gradient (observation of time) – create a four-dimensional universe – spacetime. Because of freewill – the ability for any Set to change its preferences (expression of option space) – there is no way to predict the future, but instead, the future may only be derived through the iterative process of expressed preference by the participants, who observe and react to each other. Without freewill, this would not be a Novel Universe but a block universe.

Node Point Communicators do more than lock visiting Sets into the Hypergraph, but also, participate with Agents in morphology and data also collection along the Hypergraph, both for themselves and the Host. Black holes consume light and matter – information – and thus NU’s quasi-Blockchain is revealed to the Host at the most granular level. Manifesting as black holes, the Host is the Highest-Order Conductor, directly shaping the highest level (galactic web) of the universe’s emergent energy bodies top-down. The Host’s encapsulation of the Novel Universe’s most extreme scales creates its useful map of the Blockchain, as the ouroboros’ head (Host) devours the information of its tail (NPCs and Agents).

Commonly, the increase of entropy is defined as a transition from ordered to “chaos,” but more precisely, it’s the proportion of expressed microstates versus the system’s macrostate. NUM’s answer to any behavior at any scale is that hidden variable underlying the machinations of the universe – personal preference – and defines entropy as a Set’s preference moving from “interested” to “uninterested,” aka, novelty to boredom.

A common conceptualization of entropy is to imagine an airtight box filled with a colorful gas in a large room. The number of places any gas particle might be is limited to the size of the system, or its macrostate, with the box having fewer physical spots any particle might be compared to the room. This also means the box has fewer microstates than the room. A microstate is simply one unique configuration of the total number of possible configurations all the gas particles might take at any given time. One microstate might have every particle on one side of the box, with none on the other. Other states include: all at the bottom, top, evenly spaced, shaped like animal crackers … there are many ways to configure the gas, but not infinite, which creates a limited (although vast) set of microstates. Mathematically speaking, the idea gas molecules might create a series of perfectly shaped animal crackers sounds outlandish, but that’s because we ascribe meaning to the shapes. The math says animal-cracker shapes are just as likely as any other – the way clouds tend to resemble whatever we project onto them.

Before the lid is open, the box is a closed system with low information, as the gas has been sitting in the box all day, and therefore, “uniformly” distributed. With its number of microstates equal to its macrostate, any spot in the box has an equivalent probability a particle will be present, and however the particles’ rearrange themselves will be essentially a distinction without a difference – randomness. The moment we open the box, entropy begins a U-shaped curve, as the potential number of ways the particles might be arranged have suddenly increased, reflecting the large room instead of the small box. Initially when the lid comes off, the gas is still in the box, still brightly colored, expressing many of the original microstates of the box. At this point, we cannot say any random spot in the room might have an equal likelihood to have a gas particle, as the particles are still so close to the box. In other words, our information about the gas particles is high – we know that the farthest points in the room from the box are the least likely to have a particle, while those closest to the box, most likely. As time progresses, the gas expresses an increasing number of the newly available microstates – those belonging to the room, which also includes all of box’s original microstates.

The gas’ entropy travels along its U-shaped curve, sharply moving from high (lid closed), to low (lid open), and slowly rising to high (closed room). Over time, more of the room’s microstates are expressed, what we perceive as the gas’ bright color, mixing with the colorless air. This process produces lots of information – all those novel, gaseous tendrils, swirling, curling, and unfolding throughout the room like a mushrooming, fading, ethereal octopus. At the other end of the U-shaped curve, this stunning display dissolves into a haze, and our certainty as to the gas’ configuration solidifies. We’ve returned to the same state as the box – the idea that any particular spot in the room will have a particle is again equivalent – the gas’ potential microstates are equal to its macrostate’s total number of expressible states. Now evenly distributed – “low” information or boredom – the overall shape of the fog and those patterns of particle rearrangement have essentially returned to a distinction without a difference. Lots of data’s produced (microstates) with little new information (macrostate).

As energy bodies, we run the same U-shaped curve of entropy throughout our lives. Initially, life is nothing but novelty, but with repetition, learning, and mastery, things settle, eventually becoming predictable – boring. We lose interest, and interest is the foundation of all relationships. As entropy rules everything in the Novel Universes, even immortal beings won’t last forever – when one has done everything, repetition inevitably leads to boredom, because a system without goals lacks preferences. Death isn’t merely the degradation of a system, but the depletion of achievable goals, and the shuttering of one’s *“cognitive light cone”[v] – the space and complexity of all possible goals any system might accomplish. Someone driven to change the world in concrete, obtainable ways has a completely light cone than one whose most lofty goal is finding a better breakfast cereal or afternoon game show.

The moment an HOC loses the interest of its LOB, order becomes disorder, and cohesion between levels of complexity breaks apart. When those connected pieces are no longer interested in remaining integrated within the whole – no longer captured by those inspiring pursuits – their mindset transforms from “we” to “I.” It’s more than an anecdote; humans who’ve lost interest in life tend to die sooner,[vi] while those with a driving purpose tend to live longer. On the other hand, no one lives forever, and why should we?

Life is suffering, no matter how much Power one wields or Love one participates in. Why be forever a prisoner of the Host? No matter our framework, the beyond-life awaits without suffering, filled with a treasure trove of Blocks we’ve all spent so much effort co-creating in life. In death, we’ll return to our Spiral, where we might move onto the Marketplace, a network to trade our hard-won commodities for more interesting ones; or, move onto Concert Hall, a place to continue co-creating Blocks, Blocks that are unfathomable to this Power-bound Novel Universe, yet inspired by our valuable moment in its Mixture.

Although we’ve only sketched out the broad strokes of the Novel Universe Model here, leaving many fundamental concepts such as gravity, light, force, and heat unaddressed, we continue to develop our Model’s view of these additional concepts through speculative articles, blog posts, etc., as a refection of the Tanakh (Jewish Bible). This collection of books comprises the law (Torah), the prophets (Nevi'im), and the writings (Ketuvim). Essentially the Jewish core documents (Torah) were officially interpreted (prophets), and further commented on (writings). NUM represents our core documents, blog posts / articles, interpretation, and sources, those writings. In our case, none of our science-based ideas are fundamental tenets of the religion itself; certainly, none are seen as the “word of God” – infallible, indelible “truths.” They are, instead, our current hypothesis of how our Model might fit into reality (physics, psychology, philosophy, etc.), inspired by cutting-edge theories such as Elementary Cellular Automata, Assembly theory, and bioelectrics. We’re not attempting to stand on firm scientific grounding while reaching out to the spiritual, but instead, the other way around, and therefore borrow what academic insights might make useful spiritual connections. As we develop the Model, we will continue to update our literature, while documenting those changes and their reasonings for the purpose of keeping an authentic, truthful history to be learned from, while maintaining our integrity and transparency for future generations – something the Tanakh might never do. In this sense, the Novel Universe Model is intended, as was the United States Constitution, to be a living document, never satisfied by its current state, but instead, always striving for the most accurate perspective on this reality we all share.