Over The Neptunes: What’s The Game Master John

 —  I remember a conversation where you were saying something about Kubrick choosing the number 114 as a “scalar” because it was the gateway for advancing past the 23 Enigma into the synchronicities of Pauli and Jung’s 137.  What did you mean by "scalar"?

— Of course.  Do you remember the difference between a matrix and a tensor?

— Sort of.  You said that the matrix is a 2-dimensional grid of numbers or codes, but a tensor goes beyond the 2nd and 3rd and into the 4th dimension

— Yes. A matrix has rows and columns which define its dimensions.  Matrices are commonly used in linear algebra for operations that represent linear transformations.

But a tensor is a more generalized concept, but must be built out of three mutually exclusive components:  a scalar, a vector, and the matrix.

If done correctly, these components concresce into a solid state which extends beyond infinity.

The key to the operation starts with a rank-ZERO tensor called a scalar. Think of the number 23.  The number 23 is a massless, phonetic scalar born out of print culture. Wilson and Burroughs were obsessed by it because they were die hard print-heads.  But it wasn't until the enigma became so ubiquitous that they were able to pierce the veil of print (black iron prison).

Kubrick’s intention with the number 114 was to create a scalar born of cinema, not print.  When combined with 23, it was hoped that a starway to the Pauline synchronicities of 137 would emerge.

What he didn’t foresee was that his film work would get so entangled with the 93 Current of Hollywood that it would push his work into what he referred to as Room 237.  To escape this confinement,  The Physical Tensor was developed.

A.  Every music album and every film can be played at the same time.  This is the Scalar (Rank-ZERO Tensor)

B.  Some albums and films sync up more than others.  This is a Vector, movement and separation from the Scalar statement into a higher organization of data (Rank-ONE Tensor)

C.  Some albums and films sync up a lot more than other albums and films that sync up.  This is the Matrix (Rank-TWO Tensor) 

D.  A collection of albums and films sync up so well, a meta-narrative manifests that makes it impossible to tell where one begins and the other ends.  This is the Physical Tensor (Rank-THREE Tensor)

• Scalar (Rank-0 Tensor):
• Traditional Definition: A single number.
• Your Analogy: "Every music album and every film can be played at the same time." This might imply a singular experience or point of reference in the context of media.

• Vector (Rank-1 Tensor):
• Traditional Definition: A one-dimensional array of numbers.
• Your Analogy: "Some albums and films sync up more than others." Here, the synchronization between films and albums can be seen as different elements or entries in the vector, with each entry indicating the degree of synchronization.

• Matrix (Rank-2 Tensor):
• Traditional Definition: A two-dimensional grid of numbers.
• Your Analogy: "Some albums and films sync up a lot more than other albums and films sync up." This suggests relationships between different pairs of albums and films, which could be represented in a two-dimensional matrix.

• Physical Tensor (Rank-3 Tensor):
• Traditional Definition: A three-dimensional array of numbers.
• Your Analogy: Anything that syncs up more complexly than what's described for matrices. When albums and films merge to a point where they are indistinguishable, it adds another layer of complexity. This might refer to the depth or the third dimension in the tensor.
• "Close Encounters of the Third Kind" seems to be a playful nod to the "third kind" or third rank of the tensor, possibly suggesting a more profound or multi-layered experience.

In this analogy, the rank of the tensor seems to represent the complexity or depth of the synchronization between different media. As we progress from scalar to higher-rank tensors, the relationships become more intricate, interconnected, and harder to decipher