Questions
Is it necessary to know anything about the technical, philosophical, or theoretical side to BD to understand the practical applications? What are the basic assumptions of behind the Creative Pulse Theory? Article Summary.
Graph of the Creative Pulse
Introduction
This is an introduction to a series of articles on the implications and practical applications of the Creative Pulse Theory. It begins with a technical description of the Creative Pulse graph to establish that it has mathematical foundations – not just imagination generated. However this technical information is unnecessary to the understanding of the practical applications and won't be refered to again in this context.
The Graph
Below is a graph of what has been deemed a model of the Creative Pulse.
Technical Description
The Creative Pulse graph is based upon a mathematical element called Directional Momentum, the directed measure of the central tendencies of a Live Data Stream. To provide a colorful introductory display as well as illustrate the influence of the higher derivatives the graph includes the 2nd through the 6th Directionals. The red is the Creative Pulse, while the rest are the higher derivatives.
Creative Pulse graph has mathematical foundation – not imagination generated
Sound confusing? It is, as this is a specific description of the mathematics of fractal decay that lies at the heart of Information Dynamics. The words were technical to impress the Reader that this pretty graph did not just emerge from the imagination. If you are interested in the derivations and such, entire books have been written. If you are interested in just a bit of the technical background check out the introductory section to the Creative Pulse Notebook.
Unnecessary to the understanding of the Practical Applications
But don't worry you don't need to know any of that stuff to understand the practical applications as it applies to daily life. In fact I will never use the word Directional, Derivative, Momentum, Fractal Decay, Live Data Stream or even Information Dynamics ever again. These concepts were essential to derive the theory, but are inessential to an understanding of the applications, unless you are a scientist and want to check my work. Similarly it is not necessary to know anything about mechanics to drive a car, the ingredients in wheat to bake some bread or about computer design to surf the Net.
Underlying assumption: the CP Graph models the Power of Sustained Attention
The philosophy, logic, and mathematical theory behind the Creative Pulse specifically and Behavior Dynamics in general have also been dealt with extensively in other articles. In the context of practical applications it is sufficient to mention that the following inferences are based on a conditional syllogism. If the Creative Pulse graph indeed is an accurate model of the process of Sustained Attention then certain conclusions follow. There are also a complex of associated assumptions – all derived from this primary one – which we will attempt to identify when they arise. Ultimately we will employ certain basic assumptions to build a practical structure, ala Euclid.
Correspondences based on direct observation – not hard data
This is not Copernican style, where he was inspired to postulate a new theory because of an innate feeling about the nature of God. It is not Newtonian style either, who formulated equations to fit existing date. It is more Darwinian, who perceived correspondences and came up with a plausible theory to explain them. The normal scientists that followed validated and refined the theory of evolution with rigorous experimentation. Similarly Copernicus’ theory of a heliocentric solar system was also confirmed by equally rigorous observations combined with more sophisticated theories by the normal scientists who followed.
BD just a proto-science, until validated by rigorous experimentation & observation
As such the theories proposed by Darwin and Copernicus only established proto-sciences. As their paradigms were confirmed through experimentation and observation by subsequent generations of scientists they were turned into a real sciences. Similarly the theories proposed herein only establish BD, as a plausible proto-science worthy of research. Only rigorous experimentation and observation by normal scientists can confirm or invalidate the predictions – either transforming it into a real science or degrading it to a pseudo science.
Correspondence between Ubiquitous Experience and Graph at heart of CP Theory
While data did not inspire these theories and their corollaries, ubiquitous experience did. The heart of the Creative Pulse theory was founded upon the striking accuracy of the perceived correspondence between the behavior of the CP Graph and the soft empirical data of personal and human experience combined with well-established social forms and patterns. The desire to share this theory has to do with its practical, but somewhat counterintuitive implications for human behavior.
Quest intuition-based: Current Approach is a Side Path combined with Divine Faith
While an innate feeling about the nature of God had nothing to do with the discoveries, the process of exploration was inspired by the notion that traditional theories of human behavior were on a Side path – missing crucial elements in their discussion of human behavior – taking the wrong, or secondary, approach. Although the belief in God’s innate orderly nature had nothing to do with impetus for exploration, the belief in Divine Providence provided the trust that allowed me to continue my research for decades without any external support – the faith that following my whims through alignment with Universal Tao was really the only way to go. As with Job there were incredible tests that seemed insurmountable at the time. But through Grace, I was able to prevail to make these outrageous claims about behavior that fly in the face of the current Establishment’s approach, theory and methodology.
Understanding the above is inessential to the Applications that follow
However in these next series of articles on practical applications we are skipping all of this stuff, except for these cursory preliminary remarks (as it is covered elsewhere). Having suggested a background let us move onto a discussion of the elements of the Creative Pulse as it pertains to and corresponds with daily experience.