![]() |
|
Shake the Trees! |
|
The essay The Forest is the Trees, taught us that it is possible to traverse from human expressions to archetypal roots via a process defined as Numerical Etymology. In the essay A Daisy Chain of Meaning, we compared the idea of what this study of the mind calls "Flexible Association" to a game called Six Degrees of Kevin Bacon. It was pointed out that certain restrictions, found within the Kevin Bacon game made it slightly different than normal Flexible Association. It was suggested that by adopting similar restrictions, Flexible Association techniques could be "guided" or focused, to a desired result among a series of archetypal possibilities. Let's play that game!-----Shake the Trees!In the essays Numerical Etymology and The Forest is the Trees, the path from human expression to archetypal essence was compared to a descent from the canopy of a forest of trees, down through branches and trunk to archetypal root patterns. In proposing our own Kevin Bacon-like game, it was suggested that we attempt to find those archetypal roots in about as many steps as the Kevin Bacon game challenges its players to use in connecting a chosen actor to Kevin Bacon.The Kevin Bacon game has one critical thing in common with normal Flexible Association, that of jumping from one unrelated context to another via legitimate overlaps in content (see A Daisy Chain of Meaning elsewhere on this site). But the Kevin Bacon game had three restrictions that made it a little bit more challenging of a game than that of normal Flexible Association: 1) reaching a specific destination - Kevin Bacon 2) Using only six steps and 3) Using only actors in movies to jump from one context to the next.So... it was suggested, to invent a game for determining archetypal essence we might want to include the three restrictions of the Kevin Bacon game, modified for our use... meaning: 1) our goal should be archetypal essence, not meandering off with our imagination to find personal, private meanings 2) we don't have to get there in six steps, but just to be fun, let's say we do 3) we should stick to one "tree" of archetypal essence as we jump from context to context. In other words, don't meander this way and that, the way we do with normal Flexible Association, but instead use a form of guided Flexible Association - or Focused Imagination - that asks that every out-of-context "leap" that we make be relevant to the archetypal essence we are heading for, just as we are asked to not stray from the relevance of actors in movies when executing the Kevin Bacon game. Thus... the only difference between this game and the Kevin Bacon game, is that we have 9 "Kevin Bacons" to choose from as our ultimate goal (i.e. a number line of 9 metaphorical "trees"). So, our job in this game, is to: 1) guess which archetypal essence our intuitive results are linked to, 2) etymologically descend that metaphorical "tree" of meaning, and 3) "show our work" to demonstrate a believable connection between acts of human expression and a true archetypal essence... as described by the many ideas being used on this site... that attempt to define a theoretical model of existence... rooted in fundamental, transcendental, archetypal patterns.To facilitate our descent down from the canopy of human expressions toward archetypal roots, it might be helpful to utilize the Numbers in Space chart (seen below)! Actually, as we are about to see, by using this chart we make the game of finding archetypal essence in 6 steps entirely too easy!By using the Numbers in Space chart we effectively eliminate all three of the challenges put upon us by our voluntary restrictions: 1) we don't have to guess which tree to descend, 2) we don't have to figure out the etymology to descend, and 3) the chart itself shows our work i.e. how we got there. All we have to do is Shake the Trees! |
| The Tangible : Physical : Actual : Objective : Literal Analytical : L-Brain : Active : Male : Yang Transient : Palpable : Quantitative : Particle Nature of Things. |
. | . | . | . | . | The Intangible : Mental : Virtual : Subjective : Lyrical Synthetical : R-Brain : Passive : Female : Yin Perpetual : Amorphous : Qualitative : Wave Nature of Things. |
||||||||
| Metaphor | Abstract | Personality | Deck | - | 3D | Location | Grammar | Location | 3D | - | Deck | Personality | Abstract | Metaphor |
For an OPTIONAL sixth line... |
||||||||||||||
| Mask of Comedy -- Trivial Laugh -- Treasure -- Fair Rain Dry -- A Do Bee A Good Cop |
Life Affirming -- Right Good Happy Glad -- Ups Rise Weal -- Extenuate Mitigate |
Like -- Smile Consonant -- Thumbs Up -- Reasonable Sane |
Moderate -- Appropriate Efficient -- Moderation Sense -- Appetitive |
M | Good | [0]
Varonym [Value] Persuasion |
Bad | E | Extreme -- Excessive Deficient -- Addiction Phobia -- Aversive |
Dislike -- Frown Dissonant -- Thumbs Down -- Obsessional Insane |
Life Detracting -- Wrong Bad Sad Mad -- Downs Fall Woe -- Inordinate Exaggerate |
Mask of Tragedy -- Grave Cry -- Trash -- Foul Flood Drought -- A Don't Bee A Bad Cop |
||
| Sowing -- Getting Taking Buying Saving -- "Wax on" -- Hold On Living Coming -- Gas Pedal Thrust -- Uphill Peak -- Day Light Sunlight -- Sunny Side Warming -- High Note -- Eyes Opened Flower Opening -- Warm Hot -- Spring Summer |
Productive -- Loading Cumulative Longer -- Incremental Acceleration Waxing Seizing Fusion -- Addition Multiplication -- N - Pole -- More Bigger Gain Emergence Embelished Elaborate -- Something Somewhere -- Ordered Safe Resolute -- Uncovered |
Investive -- Acquisitive Tenatious -- Cultivate Conservative -- Rigorous Persistent Engaged -- Offensive -- Reliable Predictable Consistent Dependable -- Firm Rigid -- Obvious Revelatory |
Positive -- Yes Hello Invoking -- Progressive Developed Productive Constructive -- Ameliorate Ascending Appreciative Rising -- Anabolic -- Compiling |
U | [+] or [X] | [1]
Antonym [Majors] Precession |
[--] or [ / ] | D |
Negative -- No Goodbye Revoking -- Concessive Relinquished Reductive Deconstructive -- Deteriorate Descending Depreciative Falling -- Catabolic -- Distillling |
Divestive -- Disbursive Generous -- Capitulate Liberal -- Assuasive Acquiescent Released -- Defensive -- Variable Changeable Capricious Adaptable -- Flexible Flacid -- Curious Shadowy |
Reductive -- Unloading Purgative Shorter -- Decremental Deceleration Waning Yielding Fission -- Subtraction Division -- S - Pole -- Less Smaller Loss Deliquescence Diminished Simple -- Nothing Nowhere -- Chaotic Risky Random -- Covered |
Mowing -- Giving Granting Selling Spending -- "Wax off" -- Let Go Dying Going -- Brake Pedal Parry -- Downhill Valley -- Night Dark Moonlight -- Shady Side Cooling -- Low Note -- Eyes Shut Flower Closing -- Cool Cold -- Autumn Winter |
||
|
|
||||||||||||||
| House -- Particle Rock Land -- Trees -- Tool -- Price -- Brain Machine -- Words Signs -- Record Needle -- Sides of Bowl -- Brothers -- Open Road Path -- Steps Scales Melody -- Equinox |
Physical -- Physiological Foreground Figure -- Deductive Objective -- Tangible Palpable Real Instinctive -- Factual Reasoned Reckoned Reality -- Analytical Segmented Chunky -- Temporal Variety |
Material -- Literal Verbal Explicit Intentional -- Linear L-Brain Contemplative -- Intellectual Skeptical Serious Tame -- Feet On Ground -- Eyesight |
Quantitative -- Epitomy -- Categorical Instinctiual Practical -- Actual Specific Manifestation -- Exoteric |
L | [+] or [--] |
[2] Coronym [Minors] Perception |
[X] or [ / ] | R | Qualitative -- Epiphany -- Conceptual Intuitional Emotional -- Virtual Relative Abstraction -- Esoteric |
Ethereal -- Lyrical Visual Implicit Subliminal -- Non-Linear R-Brain Meditative -- Notional Imaginal Whimsicle Wild -- Head In Clouds -- Insight |
Mental -- Psychological Background Ground -- Inductive Subjective -- Intangible Amorphous Ideal Intuitive -- Fictional Dreamed Imagined Fantasy -- Synthetical Continuous Smooth -- Perpetual Unity |
Home -- Wave Cloud Water -- Forest -- Toy -- Value -- Mind Ghost -- Pictures Symbols -- Record Groove -- Space in Bowl -- Sisters -- Open Sea Web -- Leaps Chords Harmony -- Solstice |
||
|
|
||||||||||||||
|
Question -- Incentive Work Writing Speaking -- Sunrise Morning -- Moonrise Evening -- Entrance -- Inhale Fuel Ingest -- Birth Young Beginning Past -- Short Fast Waves -- Loud Sound Strong Note -- Adam Train Horse -- Mars Lingam Outtie Tab -- Dog |
Suggestive -- Action Effort Push -- Before Cause Agent Precursive Circumstances Sow -- Generative Premise If This -- Formulation What If ? -- Mechanical Industrial Utilitarian Effective -- One Mono Uni 2-D |
Provocative -- Compelling -- Influential Assertive Persuasive Aggressive -- Direct Overt Penetrative -- Male Masculine Paternal Animus Yang -- Hunting Predator |
Impressive -- Operative Proactive -- Involute Leading to -- Windward Heawind -- Projection -- Convex Convergent -- Centripital Ingress Implosive |
F | 1, 2, 3 or 4 | [3]
Transonym [Numbers] Progression |
6, 7, 8 or 9 | B | Expressive -- Acceptive Reactive -- Evolute Following from -- Leeward Tailwind -- Perception -- Concave Divergent -- Cetrifugal Egress Explosive |
Evocative -- Propelling -- Deferential Permissive Responsive Submissive -- Discrete Covert Receptive -- Female Feminine Maternal Anima Yin -- Nesting Prey |
Seductive -- Reaction Result Pull -- After Effect Issue Derivative Consequences Reap -- Conclusive Resolution Then That -- Realization That's It ! -- Organic Personal Aesthetic Affective -- All Poly Omni 3-D |
Answer |
||
|
|
||||||||||||||
| Urban -- Intimate Married -- Capt.Kirk Jock Participator Actor Observed -- Planet Nucleus Hub Point -- Matter (Into Spirit) -- Solid (To Gas) -- Moon Seen From Earth -- Earth Fire |
Integrated -- Together Communal Collective Interdependent Close Assimilated -- Thick Dense Pressure Condensed -- Terrestrial -- Tight (Lossening) -- Coagulation (Dissolving) -- Form Force |
Attached -- Demonstrative Gregarious Social Extrospective -- Basic Common Familiar Involved -- Inside (Facing Out) Extrospective -- From You -- Sensorial Visceral |
Inclusive -- Cardinal Integral -- Internal Inside -- Full (Emptying) -- Converging and Looking Out |
I | 3, 4 or 6, 7 | [4]
Invonym [Numbers]
Perspective |
1, 2 or 8, 9 | O | Exclusive -- Tangential Peripheral -- External Outside -- Empty (Filling) -- Diverging and Looking In |
Detached -- Circumspect Reclusive Solitary Introspective -- Eccentric Sophisticated Exotic Removed -- Outside (Facing In) Introspective -- To You -- Perceptual Cerebral |
Segregated -- Separate Individual Selective Independent Far Isolated -- Thin Sparse Vacuum Rarified -- Celestial -- Loose (Tightening) -- Dissolution (Coagulating) -- Flow Frame |
Rural -- Remote Divorced -- Mr. Spock Nerd Spectator Audience Observer -- Satellite Electron Rim Sphere -- Spirit (Into Matter) -- Gas (To Solid) -- Earth Seen From Moon -- Water Air |
||
|
|
||||||||||||||
| Doing -- Just Do It Happening Boil -- Front Burner -- Now -- Play Go "Walk" Sound On 1's -- Main Event -- Bee Stepping -- Doing like the Bee -- Highway Country -- Train Car Sceen -- Water Fire |
Excitive -- Conducive -- Long Note -- Transitory Personage Conveyance -- Serial -- Volatile Instance Broach -- Crest -- Flow Force |
Directive -- Make it Happen -- Animated Dynamic Busy Moving Decisive -- Awake Alert -- Perceptual Visceral |
Active -- Vital Flux Going -- Exigent -- Stirred Becoming |
Y | 2, 4, 6 or8 | [5]
Proxonym [Numbers] Pulsation |
1, 3, 7 or 9 | N | Passive -- Idle Stasis Staying -- Contingent -- Subdude Subsisting |
Reflective -- Let it Happen -- Composed Pacific Calm Lingering Pensive -- Asleep Inert -- Sensorial Cerebral |
Inhibitive -- Connective -- Short Note -- Stationary Linkage Articulation -- Interval -- Caesural Interlude Breach -- Trough -- Form Frame |
Being -- Just Be It Sustaining Simmer -- Back Burner -- Next -- Pause Stop "Don't Walk" Silence Off 0's -- Brief Interlude -- Flower Stone -- Being like the Dew -- Rest Stop Border -- Coupling Segue -- Earth Air |
||
NOTE: this chart is laid out like a butterfly with opposite words positioned in the exact same spot across the center from each other.
KEY: [+] = The Suit of Addition or Diamonds or Coins ... [X] = The Suit of Multiplication or Hearts or Cups ... [--] = The Suit of Subtraction or Clubs or Staves ... [ / ] = The Suit of Division or Spades or Swords
[U] = Up ... [D] = Down ... [L] = Left ... [R] = Right ... [F] = Front ... [B] = Back ... [ I ] = In ... [O] = Out ... [Y] = Yes or On ... [N] = No or Off ... [M] = Moderate ... [E] = Extreme
The Numbers in Space chart (above) can be combined with the Grammatical Terms (below) invented elsewhere on this site (see the essay Why Use Words?) as a tool for sorting out the many overlapping Yins and Yangs being used in the construction of The Numerical Tarot deck design. For a three dimensional schematic of how these various subdivisions relate to our theoretical model of existence consult the essay Numbers in Space, mentioned above, and seen elsewhere on this site. |
|
AN ANTONYM |
A CORONYM |
A TRANSONYM |
AN INVONYM (inverse) |
A PROXONYM |
A VARONYM |
| Where one word is the Opponent of Other or... Contingent of Other They are Diametrical ----- (Example) ----- (Sprng/Smmr vs Fall/Wntr) (Add/Mult. vs Sub./Div.) ----- (Geometry) ----- Incremental vs Decremental Additive vs Subtractive ----- (Nature) ----- Positive vs Negative Ameliorate vs Deteriorate |
Where one word is the Manifestation of Other or... Abstraction of Other They are Analogous ----- (Example) ----- (L-Brained vs R-Brained) (Particle vs Wave) ----- (Geometry) ----- Segmented vs Continuous Sequential vs Simultaneous ----- (Nature) ----- Quantitative vs Qualitative Categorical vs Conceptual |
Where one word is the Agent of Other or... Derivative of Other They are Complementary ----- (Example) ----- (Past vs Future) (Birth vs Death) ----- (Geometry) ----- Mono vs Poly Uni vs Omni ----- (Nature) ----- Causative vs Effective Antecedent vs Consequent |
Where one word is the Cardinal of Other or... Peripheral of Other They are Proportional ----- (Example) ----- (Point vs Sphere) (Hub vs Rim) ----- (Geometry) ----- Apart vs Together Outer vs Inner ----- (Nature) ----- Exclusive vs Inclusive Segregated vs Integrated |
Where one word is the |
Where one word is the Exaggerate of Other or... Mitigate of Other They are Relative ----- (Example) ----- (Wt/Lt vs Dk/Bk) (Hot/Warm vs Cool/Cold) ----- (Geometry) ----- More vs Less Greater Than vs Less Than ----- (Nature) ----- Superlative vs Comparative Extreme vs Between |
| THE MAJOR TRUMPS | THE MINOR SUITS |
THE NUMBER LINE |
THE NUMBER LINE |
THE NUMBER LINE | SUBJECTIVE VALUE |
| [+] or [X] vs [--] or [/] | [+] or [--] vs [X] or [/] | 1, 2, 3 or 4 vs 6, 7, 8 or 9 | 3, 4 or 6, 7 vs 1, 2 or 8, 9 | 2, 4, 6 or 8 vs 1, 3, 7 or 9 | Good, Smile vs Bad, Frown |
-----Only FIVE steps!A person can try and connect iconic and symbolic human expressions to transcendental, archetypal roots by guessing which part of our theoretical model of existence they come from, and then trying to explain the path of associations that got us there. Or... we can employ a technique that is literally as simple as falling off a log... or... falling down through the branches of a tree! Because the Numbers in Space chart is designed to sort out the many overlapping Yins and Yangs being used in the construction of our deck design, it is a perfect tool for narrowing down from human expressions to an archetypal essence. In this way, each stage of the Numbers in Space chart is like a pair of metaphorical branches in a metaphorical tree... all we have to do is let ourselves fall down through those branches, and we will end up at archetypal roots i.e. a specific card in our deck that is being used to label a specific part of our archetypally rooted model!Looking at the Numbers in Space chart above, we can see that as we fall, we will inevitably hit one of two branches. As we hit each branch, we jot down a solid or open line (seen at the top of the chart) - in much the same way as we jot down solid and open lines when creating an I_Ching Hexigram, except in our case we create a Quintagram (seen below). Thus, the only challenge in this game is in determining which branch, of each pair of metaphorical branches, our iconic, symbolic human expression is expressing.
|
|
The words displayed in the Numbers in Space chart are not the be-all end-all of guidelines, they are just a few representational words to help us understand the basic dichotomy of each pair of metaphorical branches in our metaphorical tree, as we fall from human expressions toward archetypal roots. If someone disagrees with one or more of our five choices, discussions and debates should try to include as many references as possible to other descriptive models and diagrams found throughout this site as evidence to suggest a better choice one way or another. This system works best when we have as complete and thorough an understanding as possible of the theoretical model of existence as a whole, not just the scant few words that happen to appear on this one chart. So, if someone has problems making this work, it is recommended that they study the basics first! To understand the first set of metaphorical branches in our metphorical tree, try reading A Spectrum of Possibilities, or The Spine of Tarot. To better understand the choice of words used in the second set of branches, try reading All of Human Behavior or Evolution of a Deck Design: The Matrix. To better understand the nature of the third set of branches, try reading A Significant Signature of Nature or The Cosmic Engine. To better understand the fourth set of branches, try reading Why Abstract Patterns or The Accordionistic Dovetail Joint. To better understand the fifth set of branches, try reading Why Abstract Patterns or Fun With Fibonacci. To better understand the optional sixth line, mentioned at the end of this essay, try reading Good and Bad, Right and Wrong, Smile and Frown. To better understand any of these, try reading Content + Context = Meaning. |
![]() |
|
The metaphorical trees that are described in the The Forest is the Trees essay represent a side view of our forest, with canopy at the top and roots below. Reflected in a nearby lake are the trees that represent the ephemral, qualititative states of consciousness. For another diagram that illustrates this idea of material vs. ethereal, consult the essay The Accordionistic Dovetail Joint. |
As we descend down from this canopy of Quintagrams, using the Numbers in Space chart above, we create a series of overlapping opposites. If we take the Quintagram array (minus the river of 5s) and color it black and white in such a way as to show how each step divides, we can visualize how it is that we zero in on one archetypal essence.
|
![]() |
![]() |
|
|
Step 1 tells us, generally, if we are being influenced by one of the Positive suits (Addition or Multiplication) or one of the Negative suits (Subtraction or Division), which, in a parent to child relationship would also be like asking which half of the Major Trumps is influencing us the most. |
For example: take the 3 of Multiplication/Cups/Hearts... it's Positive, not Negative, so draw a solid line. If falling through branches, we would not yet know we are heading for a 3, we would only know that the concept we are analyzing is more Positive than Negative. |
|
![]() |
![]() |
|
|
Step 2 tells us, specifically, which Minor Suit we are dealing with: Addition or Multiplication if combined with a Positive result, or Subtraction or Division if combined with a Negative result. |
The suit of Multiplication/Cups/Hearts is Qualitative, not Quantitative, so draw an open line. Again, if falling through branches, we still wouldn't know we are heading for a 3, only that we are Positive and Qualitative. |
|
![]() |
![]() |
|
|
Step 3 tells us which half of that Minor Suit we are dealing with. Or which half of a number line we are dealing with: 1,2,3,4 or 6,7,8,9. |
The number 3 comes from the beginning of the number line. It's Provocative, not Evocative, so draw a solid line. Our concept is Provocative. |
|
![]() |
![]() |
|
|
Step 4 tells us which half of that half we are dealing with. Or which quarter of a number line we are dealing with: the Outside - 1,2 or 8,9, or the Inside - 3,4 or 6,7. |
The number 3 is part of the inner core of numbers along a line. It's Inclusive, not Exclusive, so draw another solid line. Our concept is Inclusive. |
|
![]() |
![]() |
|
|
Step 5 tells us which half of that quarter we are dealing with. Or which eighth of a number line we are dealing with: 1 or 2, or 3 or 4, or 6 or 7, or 8 or 9. |
The number 3 is an odd number. It is Passive, not Active, so draw another open line. The result is... |
|
![]() |
![]() |
|
|
All together, the combined results are hard to discern. For more on this, see the essay Numbers in Space. |
3 of Multiplication/Heart/Cup! For another visualization of this process, consult the One Reality diagram. |
|
That is the main goal of our Shake the Trees game... to take any thing in our world, and through these five steps, determine what overlapping influences it has, |
All words and images Copyright © 2000 - 2010 by Guy Palm
Back to More || Back to Book | Back to Tarot | Home | Site MapIf you would like to discuss the ideas found on this site, go to: http://groups.yahoo.com/group/TarotAlternative/