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? Furthermore, as a Novel Universe is 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 an informational environment, a shared “space” for the interaction of participants? Furthermore, how else will the impossible be possible, if not for a place where the Concert Hall’s and Marketplace’s foundational rules 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 are the only ones capable of acting in ways most novel to those of Power, and their participation is necessarily required. To this end, Mixtures allow these visitors from a framework of Love the opportunity to develop tools for the Concert Hall, to have experiences that will evolve their interactions and relationships, 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 / engage with the available content, block / connect to another’s feed, or simply turn off their device, temporarily or permanently, and sit in silence, exercising absolute control over the network. A Novel Universe is an evolution of the Marketplace’s basic function, employing 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.

Although similar in some ways, the Host’s Novel Universe is neither the Marketplace nor Concert Hall, but also, somewhat both. The teens’ experience of the Internet mirrors the Marketplace– a network of Power, created by self-administered connections to other Spirals. Patrons of the Marketplace do not exist within the Marketplace, anymore than those teen exist within the Internet. Likewise, the Host is a self-contained, self-created dataset, as are all Signature-Frequency Sets, and does not exist within any larger universe– the way one does in the Concert Hall– but is, instead, a universe unto itself. Therefore, the turtles’ thought experiment does not apply, as Mixtures are coherent, complete realities, at least for those who remain 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? By locking them into a virtual reality– a circumstance they cannot turn on and off at a whim, but instead, might only be permanently on or off.

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 vertices. For example, in a three-dimensional Cartesian coordinate system, points (X, Y, Z) represent– through their edges– spacial 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 spacial dimension, the collection of vertices must include a unique numbering system, or set of coordinates with well-defined edges. Part of the Host’s Spiral, or Signature-Frequency Set, is the Host’s SFS tail, akin to a very long, “snaking” string of static numbers, which might be used to form the Novel Universe’s Hypergraph vertices– those coordinates.

If we imagine a Novel Universe like a sea, with the surface representing 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 the Host’s SFS tail into subsets, we create 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 sets of numbers 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 head (web) and tail (particle) of the ouroboros 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 number set, like a rainbow of colors, or, even a narrow range of a single “color,” like visually indistinguishable, yet mathematically distinguishable, reds or blues, for instance. Each number in a vertex’s set represents one unique color value– in our metaphor, this would be a single scale of the snake’s skin. Each Hypergraph iteration (time) is the act of a vertex taking on one of those values, cycling through that series of colors as the iterations progress, then repeating the sequence, like that little circling ouroboros. However, as this is an ouroboros, with each sequence complete, one of those values is “consumed,” replaced by another. In other words, the little ourobori are themselves cycling through the larger ouroboros’ set of values.

A snake slithers like a cup of water poured down a channel, its body transitioning along a series of fixed undulations– an uncanny form of motion unique to its body type. With this in mind, each of the snake’s scales breaks the water’s surface along each undulation of the body, rises out, arcs above the water, and eventually descends back under. To mix metaphors here for clarity, this 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 colors of all vertices– the larger ouroboros’ total set– while the window, the current colors of a particular vertex– the little ouroboros’ limited set.

This cycling of values within each vertex constitutes the universe’s internal “clock,” creating, in combination with all other vertices, a wholly unique value (address) for each point in space and its corresponding moment in time. This means every iteration of the universe has its own, unique set of coordinates, 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. Furthermore, the number of values for each vertex (the size of that window) varies with the size of the vertex– larger black holes have a larger set of values, as if the snake’s undulation rises farther from the water, incorporating more of the snake’s body.

One-dimensional, cellular-automata edges stretch between pairs of vertices, with any single vertex connecting to any number of other vertices, and the number of connections, again, reflecting the size of the black hole. Cells are created by segmenting the edge, with the number of cells along the edge constituting the distance between pairs of vertices. The space of the universe then becomes a relationship between the collective vertices, based on the Hypergraph’s unique edges. Each edge is akin to a color-shift gradient between the two ends and their cycling color sets. Each individual cell represents a unique hue along that edge, with the center cell as an equal mixture of the two ends, and the first cell at either end, reflecting the first shift in color from the vertex towards the center. For instance, if one vertex is made of blues, the other reds, the center cell is an array of purples. In this way, every cell of every edge in the universe has a unique value or address for every iteration– a number created by its relationship between each pair of vertices and their cycling values. The Hypergraph– this data matrix– is where the computational iterations of the Novel Universe migrate data from cell-to-cell.

Information moving along one-dimensional edges is not enough to create the three-dimensional universe we experience. Instead, this information (energy and particles) must be free to transfer from edge-to-edge. An emergent matrix– the Hypersphere– consists of Nodes, points where Hypergraph edges cross, where any number of coinciding one-dimensional cells effectively designate the same “atom” of space. Each Node is designated as the addresses (colors) of the unique cells belonging to that particular Node. This means each Node has a variable number of dimensions equal to its number of coinciding cells, or points where edges cross. Each junction between any two edges creates a two-dimensional angle, or polar vector. A polar vector is a point with a pair of rays extending from each other at a particular angle. A ray is a line that extends to infinity, but in this case, it points to the vertex (black hole) along the Hypergraph edge. Each Node functions as a transfer point, where data might migrate from one edge to any other edge that crosses that point. This allows time (Hypergraph iterations) to computationally move energy, light, and matter (information) from edge-to-edge through the three-dimensional space we observe.

Metaphorically, the relationship between the Hypergraph and Hypersphere is a multi-dimensional, beaded necklace, with the beads of this necklace having multiple strings connecting adjacent beads in multiple directions. Node Particles (NP) are distortions in the strings (cellular edges)– the foundation of matter and energy. NPs occur within beads (Nodes), moving through the pair of matrices, en masse, like eddies in water as three-dimensional, emergent structures of purposeful energy.

Energy is a direct function of the Hypergraph, whereas energy bodies are bonded by Higher-Order Conductors within the Hypersphere. Each energy body is an assembly of emergent complexity, made from Lower-Order Bodies, each an HOC for its nested LOB, all the way down to the base matrix– the Hypergraph. Morphic resonance is the organizing shape of energy as matter, and assembles from the Node Particles’ adherence to the Host’s selection of Rulial space. As the Host’s Hierarchy, NPs are, themselves, individual Signature-Frequency Sets, connected through the Marketplace with the Host in a structure of Power. 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, moves their morphic bodies throughout the universe, restricted by the laws of nature– the Host’s coherent selection of Rulial space. Node Particles bind visiting Signature-Frequency Sets (Higher-Order Conductors) to these morphic shapes of every level of emergent complexity, and 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 perceptions arise from the option space of the structure’s LOB.

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 Particles do more than create morphology and lock visiting Sets into the Hypergraph, but also collect data at their local level, both for themselves and the Host. Light is a perfect vessel for information. Photons (Hypergraph NPs) are emitted by a sun’s nuclear reactions, and travel throughout the universe like a billiard ball, sent from cue (sun) to pocket (black hole), ricocheting along the way from ball-to-ball (energy bodies). Ultimately, they, like matter, are consumed by black holes (Host). Each photon’s interaction with an energy body transfers energy (information) to / from the body, while collecting, transmitting, and storing data. Once NPs (energy, light, and matter) reach a black hole, the Host consumes the information, and thus NU’s quasi-Blockchain is revealed at the universe’s most granular levels (quantum / atomic). At the other end of the scale, the Host, as black holes, is the Highest-Order Conductor, directly shaping the highest level (galactic web) of the universe’s emergent energy bodies top-down. Through black holes and Node Particles, the Host encapsulates an outline of the entire Novel Universe, creating its useful map of the Blockchain, while consuming the information of these two, most extreme scales– entropy, the ouroboros’ head (Host) devouring the information of its tail (NPs).

Commonly, entropy is defined as things moving from ordered to “chaos,” but more precisely, it’s the process of information flowing from high to low. 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.

To conceptualize entropy, imagine a box filled with a colorful gas. Before we release it, within the box, the position of each molecule “randomly” moves about, as they’re all generally distributed evenly within the box– high entropy. The moment we open the box, entropy begins a U-shaped curve, moving from high, to low, and back to high. As the gas mixes with its new environment, it rapidly expands. The entropy curve quickly drops, and for a period of time, we have high information (novelty). The information is high because we can predict, with some certainty, that the particles will fill the room, transforming that gas cloud– a colorful, box-shaped body– into a faded, shapeless fog. How that actually happens produces a lot of new information– the novelty of all those gaseous tendrils, swirling, curling, and unfolding throughout the room like a mushrooming, ethereal octopus. On the other side of the U-shaped curve, this stunning display dissolves, and our certainty as to the configuration of the gas cloud, again, solidifies. Now evenly distributed– “low” information or boredom– the overall shape of the fog and those patterns of particle rearrangement will essentially remain a distinction without a difference, just as it had been in the box. And again, lots of data’s produced with little new information.

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. The moment an HOC loses the ability to keep the interest of its LOB, order becomes disorder, and cohesion between levels of complexity breaks apart– those connected pieces, no longer interested in remaining integrated within the whole, transform their mindset from “we” to “I.” In this way, humans who’ve lost interest in life tend to die sooner, while those with a driving purpose tend to live longer, but 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 (gravity, light, force, heat) unaddressed, we continue to develop our Model’s view of these additional concepts through speculative articles, blog posts, etc. Just as the Bible’s first books were commented on, and further expanded upon with more commentary, we endeavor to do the same, with the singular exception that 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, bioelectrics, and Assembly theory. 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. 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 the reality we all share.