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Jafar's Tzeenchian Guide on How To Play The Chaos Game

jafar_fractals

So, young Slawkenberg Student! You wish to walk the path of the Changer of Ways? You wish to ride the tides of Chaos, to see the crackling beauty of the fractal Empyrian?

Know this: the Architect of Fate is a God of of hidden order- a God of unseen rules of breathaking simplicity and power that grow forth into astonishing complexity and apparent chaos.

Know the rules, and see the vast and hidden workings of the Architect! First, you see what is hidden. Then, you call forth what is unseen, and revel in the hidden rules of the Emperyon! Once you understand the game, you may become a writer of rules, a caster of spells, an Architect of your own Fate in the wonderful, whirling chaos of Destiny.

But one must crawl before one can walk. One must walk before one can run. And one must run before one can take flight.

Join me, in exploring your first step into the hidden, ordered chaos of the changer of Ways.

As befits all students who are taking their first steps along the paths of power, we begin with a simple practice piece. Let us observe how a few simple rules can create the appearance of great complexity.

Legend tells of an ancient, wartime sage from the mists of Terra, from before the Corpse God ever ruled, and far before he fell. Humans were wise even then, and of the wise, there was a sage named Serpinski.

He created the trangle that, for millenia, has born his name.

Observe how, as an object, it looks both astonishingly simple, and infinitely complex.

image

It is obvious that this object has rules. Let us examine what those rules are, shall we?

First, let us observe the rules in motion, as we must observe the laws and rules of change in our own day-to-day lives.

This is an animation showing what happens when do you run the same image through a multiple reduction copy machine several times.  It starts on the second iteration, when you have three crabble sized apples arranged in a triangle on a one foot by one foot napkin.  Following the same copying process outlined above,  everything on the napkin is run through the Multiple Reduction Copy Machine. This means that one copy of the crabapple-sized apples arranged in a triangle is made, shrunk down, and positioned in the lower left corner, such that you now have a triangle of three thumb-sized apples in the lower left corner.  Another copy is positioned in the upper left corner, such that you now have a triangle of three thumb-sized apples in the upper left corner.  Another copy is positioned in the upper right corner, such that you now have a triangle of three thumb-sized apples in the upper right corner.  The original three crabapples are removed from the napkin, leaving only the three half-sized copies of the three crabapples, which ends up looking like nine thumnail sized apples arranged in a triangle.  This is the second iteration of the multiple copy reduction machine.  Starting the third iteration, the whole napkin is again copied three times, leaving behind a triangle that consists of twenty-seven thumtack sized apples arranged in a triangle.  Starting with the fourth iteration, the whole napkin is again copied and reduced three times, leaving behind a triangle that consists of 81 pinhead sized apples.  Starting the fifth iteration, The whole napkin is again copied and reduced three times, leaving behind a triangle that consists of 243 pinpoint sized apples.  At this point, the apples are too tiny to really feel if we keep shrinking them, so we can stop iterating.  Fractals, in theory can go on forever, but as a practical matter there is no point in continuing the copying process beyond the point that a human can feel a difference wehen running their fingers over the pattern made by 243 poinpoint sized apples arranged in a triangle.  At this point, what started out as one large, fist-sized apple has been reduced to a triangle pattern of poinpricks that feels like a a large triangle made of three smaller triangles, and each of those three smaller triangles is made of three smaller triangles, and so on down until one can no longer feel the difference.

Every scribe is familiar with both the tedium of copying, and the power of having multiple copies.

Contemplation of this Serpinski's triangle, this Tzeenchian Toy, is a proper practice piece for those who aspire to to fuller comprehension of the underlying order behind Chaos.

As children, we must crawl before we walk. Let us crawl through our first steps into a wider understanding of Chaos.

This method of understanding Chaos, as befits our orgins in the sultifiying Imperium, is extremely organzied, very systematic, and slow.

But, as our dear Liberator is wont to say, we must build with the foundations we have: and our foundations are Imperial.

Fear not. This organized system is but the first, slow step to the completely disorganized, fundamentaly random, and extremly fast Chaos Game.

But for the nonce, we must copy. And so we create Serpinski's Triangle with the Multiple Reduction Copy Machine method.

Pictured is a blank white square.  A mouse cursor draws a dark black squiggle in the center of white square.  If you imagine a child scribbling aimlessly with a pen, that's pretty much what is going on: the lines don’t form a picture or words or anything. It more or less looks like someone dropped a black spaghetti noodle in the center of the page. It's just an animation of someone drawing a random black squiggle in the center of a white sheet.

When operating a copy machine, it helps to have something to copy. Above, I'm making a tzeenchian squiggle on a white background so that I have something to copy.

In this animation, I am going to copy the black squiggle I made, shrink it down, and make it smaller.  Since you're reading this alt-text, though, let me go for a different demonstration that involves different senses than sight.   Imagine that I am starting with an regular sized apple, the kind you would buy in a grocery store.  This apple is placed in the center of a one-foot by one-foot cloth napkin.  The an apple the size of my fist and would fit comfortably in my hand.  Now imagine that an exact copy of that apple is made.  This apple is an exact copy except for two differences.  First, instead of being the size of my hand and fitting comfortably in my palm, it is the size of a crabapple or a golf ball.  Second, instead of being positioned in the center of the napkin, I position this apple halfway between the original apple in the cenrt of the napkin and the lower left corner.   TAgain, The original apple and the copy are the same in every respect except the copy is half the size of the original, and the copy is positioned halfway between the center of the napkin and the lower left corner of the napkin instead of being a full sized apple in the center of the napkin.

In the above, I am running the original drawing through a copy machine. That copy machine shrinks the image down by half and moves it to the lower left corner of the white square. This shrinking and moving is called a transformation. As we hope to be transformed by the Lord of Change, so this squiggle is transformed.

Continuing with the apple analogy, in this animation, the original apple is still in the center of the one foot by one foot square napkin. There is a half-sized copy of the original apple in the lower left corner square.  This animation demonstrates another copy of the original apple being shrunk and moved to the upper left hand corner.  If you pretend is an apple placed in the center of the white square napkin, and then imagine grabbing a copy of that Apple, having it magically shrink down in your hand, and then placing it in the upper left hand corner of the white square napkin, it is essentially the same idea: the original apple has been transformed into a smaller copy in a different place.

Since this is the multiple reduction copy machine method, it's time to use the second copy machine. This one makes a copy of the original drawing, shrinks it, and place is it in the upper left hand corner of my square.

Continuing with the apple analogy, this animation shows a white square with a large apple in the center, a half-sized apple in the lower left corner, and a half-sized apple in the upper left corner.  In this animation, we make a third half-sized apple and place it in the upper right hand corner, halfway between the center of the napkin and the upper right hand corner of the napkin.  I now have a fist-sized apple in the center of the napkin and three crabapple or golf-ball sized apples: one in the lower left corner, one in the upper left corner, and one in the upper right corner.

With this multiple reduction copy machine method, I have taken my original drawing and run it through three reduction copy machines. I am left with three smaller copies of my original drawing arranged in a triangle.

Continuing with the apple analogy, I now have a large apple in the center of the napkin and three smaller apples postioned in a triangle, one in the lower left corner, one in the upper left corner, and one in the upper right corner.  I reach in, take the big apple, and make it disappear.  (either eat it or toss it to the birds.)   I am left with just the three smaller copies of the original apple.  What I have done is run one iteration of the multiple apple copy reduction machine- I took one apple, made three reduced-size copies of the apple, and got rid of the original apple.

We have created three smaller copies, and deleted the original.

So are multiple reduction copy machine has created three copies and deleted the original. These three copies form a new image. What if we took that new image and ran it through the multiple reduction copy machine again? And again? And again?

This is an animation showing what happens when do you run the same image through a multiple reduction copy machine several times.  It starts on the second iteration, when you have three crabble sized apples arranged in a triangle on a one foot by one foot napkin.  Following the same copying process outlined above,  everything on the napkin is run through the Multiple Reduction Copy Machine. This means that one copy of the crabapple-sized apples arranged in a triangle is made, shrunk down, and positioned in the lower left corner, such that you now have a triangle of three thumb-sized apples in the lower left corner.  Another copy is positioned in the upper left corner, such that you now have a triangle of three thumb-sized apples in the upper left corner.  Another copy is positioned in the upper right corner, such that you now have a triangle of three thumb-sized apples in the upper right corner.  The original three crabapples are removed from the napkin, leaving only the three half-sized copies of the three crabapples, which ends up looking like nine thumnail sized apples arranged in a triangle.  This is the second iteration of the multiple copy reduction machine.  Starting the third iteration, the whole napkin is again copied three times, leaving behind a triangle that consists of twenty-seven thumtack sized apples arranged in a triangle.  Starting with the fourth iteration, the whole napkin is again copied and reduced three times, leaving behind a triangle that consists of 81 pinhead sized apples.  Starting the fifth iteration, The whole napkin is again copied and reduced three times, leaving behind a triangle that consists of 243 pinpoint sized apples.  At this point, the apples are too tiny to really feel if we keep shrinking them, so we can stop iterating.  Fractals, in theory can go on forever, but as a practical matter there is no point in continuing the copying process beyond the point that a human can feel a difference wehen running their fingers over the pattern made by 243 poinpoint sized apples arranged in a triangle.  At this point, what started out as one large, fist-sized apple has been reduced to a triangle pattern of poinpricks that feels like a a large triangle made of three smaller triangles, and each of those three smaller triangles is made of three smaller triangles, and so on down until one can no longer feel the difference.

This creates a fractal called Serpinski's Triangle.

The amazing thing is that you can start out with any image. Yet, following those three simple rules...you always end up with the Serpinski's triangle.

01AttractorsStartWithAnythingEndUpSerpinski

By adherance to three simple rules, we have created a very complex triangle.

This method illustrates the strength of the Imperium: simple, organzied, creating complexty by strict adherence to a heirarchy, and to the rules.

It has one besetting, overarching sin.

It is slow.

Next, I shall teach you how to make exactly the same result, without heirarchy. Without sequence.

Next, I shall teach you...the Chaos Game!

#Part 2: The Chaos Game!

Every citizen of Slawkenberg is familiar with the Hab Block. 80% of our citizenry, including myself, have called the imperial, straight-edged brutality of the hab block 'home.' While Liberation is slowly liberating us from this dominating imperial form into far more appealing, human, and humane complexity, we can still use our familiary with our excessively simplified Imperial architecture to create a solid launching point into the wonders of chaos.

image

As we all know, an imperial Hab is a cube of cube of cubes. Every room is the same, except for such markings and grafiti as we humans, in all our glorious, changing differences, mark on the unchanging sameness of rockcrete walls.

I myself grew up in the cubic brutalism of the Hab, and, like most Hab children, was gifted a simple name. Jaf. It is the kind of name a mother can yell in a hurry, to make you freeze before you get run down by an indifferent servitor, to make you pause before you teeter off the edge of an abyssal shaft. The kind of name you can hear over the sounds of a hundred human screams. Jaf! Get down! Jaf! Run! Jaf! Hide!

In less pressed circumstances, my mother would call me 'Little Jaf', as we sheltered in our room. In a tragedy I share with far, far too many of my generation, I barely knew my father before the evil Giorbas took him. My mother, a ruthlessly loving, powerful woman, vastly overmatched by her circumstance, taught me. She what every parent does in such circumstance: Taught me to be wise, and clever, and sly, all the basic skills to survive the monstrosity of unlivable sameness.

And the first spell, the first ritual she taught me, was the secret knowledge finding my way home.

It is a spell every slawkenberger knows. The magic of a home adress. But the upspire rulers knew not the rites and rituals the squarefolk in the hab used to pass this essential information on to grow the hopes and ambitions of the next generation.

She, like so many of her generation, taught me with care, and guidance, and as small but necessary amount of blood. Markers can be rubbed off by slavers snatching children. Jewelry, no matter how cheap and tightly embedded, can be cut or prised or yanked of a tiny limb. But a scar- a scar has no value, no sale price. And a scar is forever.

So my mother, like millions of habbers before her, carved my home address into the meat of my hand, in a ritual as old as the brutal cube in which I lived.

As children know nothing, but are curious, hungry, ravenous, in fact, for the knowledge of the wider universe and the power that means protection, this ritual is thoroughly practical. It is a rite of passage, a way to make a game of life, in which the skills necessary for living become badges of earned honor symbols on our skin.

And so, with sacred knife made from a shard of food tin, dipped in the holy counterseptic of amasec, my mother carved my first number into the ball of my thumb. Number nine. The number carved into the door of the cubic room in which we and the ghost of my father's memory lived.

It hurt, yes. It held no magic of the emperiyan, but in a very real sense, it held the power of a spell. A homecoming spell.

It carried the components of every useful, practical spell.

9- A spell of community- This child has people, who will come looking. 9- A spell of belonging- this child has a place, a right to a room, and may not be safely taken 9- A spell of protection of the ignorant- this child has no other number, and has not earned the knowledge to stray further. You, neighbor, as you wish to have your children guarded, gaurd this child, and always bring it home to nine. 9- A spell of hope and change for the future- one number now, and space for the rest later.

And as with all practical spells, it worked- it worked to tilt the odds in my favor that that I would live to grow in power and maturity.

Did it have any magic of the Empyrian? No. Most spells, in fact, do not.

We all know the rot and corruption of Slawkenberg before the Uprising. But I, as a child, had no idea. All I had was a brave, clever, ruthless mother- one who cast the spells she did could to buy me the best chance at growing to adulthood.

She carved a 9 on my hand- but I, a tiny child, had no idea how to use it. I didn't have the words. I didn't know the numbers. I didn't know the many changing paths back home. And that was the second part of the spell- the skills my mother taught me, spells that still, today, are my guidepost as I navigate the ever-glorious changing complexity of the Empyreon.

She taught me that the name of the cube in which I lived, the name that, until that moment, had been hidden by ignornce. It's name was 9.

It was the first time I conciously felt Change, as a hidden name was revealed to me.

It would not be the last.

I first knew it was my room, and then knew it was Nine.

single bloc

My mother warned me not to stray from 9. It was our hold, our protection, and she left me what knowledge and comfort she could each day before barricading the door carefully behind her. She told me never to go far from 9, and I, though curious, did not. I knew even then of danger. And so I stayed in 9, while my mother went out for seeming eternities, leaving me with nothing but a red bundle of feathers to hold to comfort me, and a dim, hand-cranked luminator. I did not know what servitude, or work, or 'day jobbing' was then, but I did feel her absoence. But every morning she cranked the luminator until it glowed, and she promised to be back before it, quite, went out.

I do not know what feats of heroics she pulled off to keep that promise, though, knowing of Slawkenberg now, I have many guesses.

Still, her absence was a massive, empty void. And in that void, I quested to fill it with knowledge.

I began to desire change, as all children do. I began to explore.

The day my mother came home, and caught me taking my first tentative steps into the outside of 9, she said, was the day I must learn the word 'Plex.' and the day I must start to learn the many paths to home. My world grew.

My mother forbade me from going past the plex until I had earned my next number. Until I had won enough knowledge to explore.

And that day, she brought me Aunt. Aunt was an old, withered crone, dying, but still able to take on the task of teaching knowledge to the needs of the new in exchange for a handle of amasec to comfort the pains of the old.

In my mother's absence, from Aunt, whose breath smelled like rot and alcohol, I learned that room 9 was the ninth room in our plex. Aunt brought wooden mag blocks to play with, and all that day aunt had me build the shape of the plex. She showed me the numbers of the room, and the numbers on the block, and we played and played. Then she took me walking. I toddled after her as we shuffled slowly down the corriders, finding the numbers that went with each block. I learned that our play had built a plex, and i learned from the inside what a plex was.

I did not know then the high cost my mother paid for those lessons. She could only afford two days, and after that, Aunt was gone. But the introductions were made. I was known. I was allowed the freedom- and the danger- of roaming the plex, but no further.

My legs were tiny. Her legs were ancient and slow. and yet the spigot of new knowledge sprayed from her like a broken fire-fighing pipe, and I drank it in like a wet-vac servitor set on 'high.' My world grew to twenty-seven times that day, as I learned the rooms, the corridors, the shafts and the ceilings of my plex. and, for the first time, I learned North, South, East and West...the gated doors to th plex. And I was introduced to those who watched and guarded those doors. Those guards were fearsome to me. Withehred. Missing limbs. Missing eyes. Missing teeth grinning at me. Ragged, and wretched and yet still able to watch and bar the door.

The doors are locked. sealed. The watchers guarded the gate- and charged to open it. I did not know then that it was a tiny toll, a pittance spared by those forced to leave and toil elsewere to form a retirement hobby for those lucky enough to be elders, and to buy better odds that their children would still be there when parents returned from work It was, I was to learn later, a pitiful barrier, only fit to contain toddlers.

"Earn your numbers." they would say, every time I tried. "Earn your knowledge, and your right, or stay right here tonight."

I saw was my mother going through the gate- of those taller going through the gate. And I tried to go through the gate, but couldn't pay the price.

It was the first I learned of prices, of fees.

My mothere explained I hadn't paid the price to range further. The price of knowledge, and the price of coin. The other price, the price of blood, I did not and would never have the power to pay.

And so I set out to pay the price ot knowledge and coin.

I learned to run from other children. I learned to fight other children. I learned who to flatter, who to avoid, who would give treats and who would give blows. I scribbled numbers on the walls, and learend they had an order. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. I learned the north entrance, the south entrance, the east entrance, and the west. I learned the upwell shaft, and the down shaft.

The day I recited it all to a doorman, that I had learned every name, every door, every path to and from nine...he laughed, adn told me to tell my mother it was time to to give me my first coin.

I remember her face when she came home to 9 that day. Her eyes were wide, with pride and fear. Her mouth was stern with ruthless truth. She gathered the knife she had used to carve 9. She gathered a tiny bottle of amasec, barely enough to work as a counterseptic on a toddler hand. She gathered a coin, and handed it to me to carry.

"It is time." she said. "for your next number. You have earned it."

She gave me a coin. The first coin I ever held. I held it so tightly it left a mark on my palm. We walked to the North gate. With a palm shaking with excitement, I handed it to one-limb Totter. He took it, and unbarred the way.

image

Beyond the threshold was...a hallway. Exactly like the one I had learned, but new all the same. My mother turned me aroud, as Totter closed the gate again.

"We live," she said. "In complex 13."

She knelt, and commanded me to hold out my hand. And so my mother carved a 13 into my palm- below my right index finger- the first finger.

"You will go forth, to the hab block." She chanted, "You will go forth, into greater knowledge, and greater danger." She poured the amasac onto a clean, worn cloth, and cleaned out the blood.

"You will be hurt." She chanted. "But you will prevail."

She tied the bandage tightly. "You will range." She chanted, "And you will always come home." She squeezed the cut in desperate blessing. "Where now is home, not-so-little Jaf?"

"Home is 13-9." I said, my eyes shining with pride.

She knocked, and Totter unbarred the gate.

We went home.

image

I was still not allowed to roam freely. Every time the threshold was crossed, I had to pay the price.

My mother did not often have a coin. She gave me what she could, because she had to buy me the best chance to learn she could. But it wasn't enough. And Totter knew a way that was. I had learned quickly. I was clever. I was fast.

And so I, like so many of my peers pre-liberation, got the job. I became a plex messanger, and apprenticed myself to a block messanger.

I learned that Plex 13 was one of twenty plex cubes in a block. I suspected the block had a number as well, but my mother said I hadn't earned it yet. So until then, my palm held only two numbers. 13-9. Numbers that said to the world I belonged to plex 13, room 9. Numbers that would not let me freely range, yet, because they declared I did not know enough to venture futher than the edges of the block.

I was a fast learner. You have to be, to safely roam a block. 400 rooms, split between twenty plexes, is more than enough territory to for even the cleverest three-year-old to learn.

The numbers on my hand would lead me home. I learned it was called my address. plex 13, room 9. One room of the four hundred rooms in the block.

As a messanger, I learned other numbers lead to other rooms. And, knowing the numbers, I could find them.

I learned that some plexes had door guards, like plex 13. Some had none. The ones with guards were generally safer, but you had to pay the price. I learned some messages were worth more than others.

I learned that, as the smallest, and youngest, no older messanger would let me poach thier routes. I couldn't make enough to pay the Totter's price often enough to be a reglar.

"Make friends, little Jaf." My mother advised. "Make allies. Friends that will watch your back as you watch theirs."

So I began to make frieds. Only from those who would pay my price. I traded a favor. Those who traded one back to me, I kept. Those who betrayed me, I left. Those who gave freely to me, I exploited until they'd spent themselves dry, and couldn't pay their own prices to come back. I even came to call them friends. Block plex 13, room 4 held the twins, before the bloody cough carried away that whole corridor. Jenzo, plex 5, room 9, another niner like me, twice my age, who had earned another syllable. Viz, who saw useful things nobody else did. Elc, the tallest. We befriended and fought and ran messages, and learned.

Nobody had taught me the abacus. Nobody had time. But in the brutal corridors of the hab, in the calculus of coin, in the space where i was running and learning...I learned to count.

More than that- I learned to see the flow of coin.

And I saw our opportunities, from a height only a junior, overlooked, wildly clever three-year-old could be excpected to see. I I traded this knowledge with my friends, who saw other things and trade it back.

But I also learned of loss.

I lost my first set of allies quickly, to all the usual Hab hazards. Disease. Falls. Starvation. Once a murder. Through it all, I was able to find my way home.

I didn't understand why or how and wouldn't truly know the causes of it all until I grew to my full power. But I felt those absences, went looking to fill them with knowledge.

I went looking. Because my mother taught me addresses, I went looking at every number. Plex 16, room 10 taught me terror. 16-4 taught me caution. 8-1 taught me courage. 9-3 taught me subtlety. In less than a year, I knew them all. I ran my messages quickly, carfully, learning the people and places and dramas and threads fostered in the block.

And I earned my third number, and the knowledge needed to risk ranging further. My mother prayed over me, as do all good parents, and gifted me with the second part of my name.

"Little Jaf." She prayed, pressing amasec in my hand as a counterseptic and bandaging it tightly with the only clean cloth in the room. "You shall go far." She carved 19, the third and final number of home, into my palm.

I was four.

The four hundred rooms I had learned were merely the twentieth part of the hab, and my search for knowledge had caught the eyes of those who both prey upon young wisdom, or seek to shepherd it into further maturity. By the time I was 8, and formally initiated into the mysteries of both the Lord of Change and apprenticed to the Adeptus Administratum.

image

I knew that some rooms were more equal than others. I alreday knew that some plexes were more equal than others.

And with my third number, I learned. Every Block 19 has a reputation.

The Sunless Block. The shade block.

Block 19, the block furthest from the sunward face of the hab. Block 19, where natural light never reaches never reaches, no matter how many mirrors are positioned in the sunwells. Block 19, the hotbed for the fastest, cleveres, most ruthless messanger boys for the entire hab- because our parents were sly, and our parents were wise, and taught us how to hide in plain sight, to make ourselves useful, to be overlooked and subtle and yet wise, because otherwise thier children will live and die in the grinding misery of total shade.

Freshly named, adress in hand, I ranged toward the sunward side, and saw sunlight for the first time. It was beautiful and terrible, for with my first glimpses of sunlight came the certainty and safety of shadow.

Three iterations of Hab Block

And as I ran, I began to picture every room in that hab as glowing with the light. The light of knowledge. The light of discovery. the light of change.

I delivered messanges all over the hab. As I did, each address lit up in my mind- a beacon of knowledge shining complexity where once was simplified ignorance.

As I grew, I made it my mission to discovery every room in the hab. All 8,000 of them.

By my 8th name-day, that number so sacred to the architect of Fate, I had succeeded.

The process was chaotic. I visited many adresses because I had an official message. Sometimes I would be sent to a place with an official parcel and a legitimate errand. Other times I created an errand.

Sometimes, I would bring a clipboard and knock on doors, claiming to be a surveyor. Sometimes, I claimed to be mistaken, and used my youth as a shield against retaliation.

Others, I had to make friends, and scheme, and trade favors. Still others had the door marked with a simple price to pay to get in.

But, many times, I simply...rolled a twenty-sided dice. If it turned up 4, I would visit block 4. Then I rolled again- if it turned up 6, I would visit plex 6. I rolled again, and found I would be visiting room 14. And I would find a reason to knock on the door- and discover what ranged inside.

You see, I discovered that it didn't actually mattter what order I visited the rooms in. And if simply...rolled dice to see which one i would visit...every number comes up eventually. Fate will always find your number, given enough chances.

But long, long before I checked every room, my mind was filled with the treasures I discovered. I had a visceral sense of the space. I had a visceral sense of the people. The Hab itself in all it's complexity sketched itself in my mind and a whole, unified, complex, shape whose bones stayed the same, but posessed an astonishing variety of detail.

And in this way, I turned the grey unknown of my ignorance into the brilliance of discovery.

By my 8th name-day I had visited every room in the hab block at least once. Where once was a mere blank in my mind, an unknown, empty spot on my map, I had filled with the treasures of knowledge and discovery...and I did it without any particular order in mind. I didn't search block by block. I didn't go door to door. In fact, there were places where it was only safe to dash in, take my peek, and rush away at my full speed.

It was dangerous, yet so is life. It was exhilharating. As is life. It was full of treasure. As is life.

And I disovered them all. And carried that knowledge home with me.

image

That was my first experience playing the Chaos Game. One I learned that one small, boy, randomly visiting rooms as chance decides and circumstance decide, can learn the entire shape of a hab, can fill the empty spaces in his mind with the painted complexity of knowledge.

In these days of liberation, we need not send toddlers to work, on dangerous missions to earn pitful amounts of coin. Knowedge is freely available, yet we must create spaces in our minds to accept it- the same way I used the space of the hab to create space in my mind for the entrancing complexity of humanity.

How can you create such a space in your mind, without the rituals of my mother, without the community of a plex, without the need to scrape for coin and forge alliances?

Here is the first of Tzeenches hidden, changing truths.

The rites of my mother, my coming of age, the guardianship of the door watchers and Aunt and making friends...all of that was a game. All of that was a game designed to set aside the hideous nature of the hab, and encourage my growing brain to play.

Liberation has destroyed the hideous hab, and all of it's materium horrors. What is left is...play.

So let us play!

Next lesson: playing with chaos.

We honor it toda with play.

So let us play!

Instead of a hab, let us return to an even simpler shape, the same triagnle we made last lesson. Serpinski's gasket.

Let us see how, by rolling a dice, and moving a single point around like a messanger boy randomly delivering mail to various addresses in a Hab, we can sketch out the shape of Serpinksi's Triangle.

Remember Serpinski's gasket? Here's how we made it last time.

119703636-5affb000-be1c-11eb-9721-898526fe8703

01AttractorsStartWithAnythingEndUpSerpinski

What if, instead of shapes, I started with numbers?

If I do that, then, just like every room in my home hab, every piece of this triangle is numbered.

Just like I, as a messanger boy, could find any room in my hab by knowing it's address. I can go to block 14, complex 8, and room 3. and find the people within it...I can find any point in this triangle.

119703646-5e933700-be1c-11eb-917b-b683b3f9ab2b

Let's look at address 21322

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Just like finding an adress in a hab, I start with the biggest aread first. Let's imagine this triangle serpinski's triangle is the size of a city. a ruthless imperial city built by a governer obsessed with the mind-numbing, excessively triangluar simplicity of the Imperium. This city is split into 3 zones. To get to address 2, I fly my aircar to city sector two. Within it, there are three triangluar habs. I fly to hab 1. Within that hab, I need block 3- so I land my aircar in the central landing pad of hab 1, get out, and walk to block 3. Once inside block 3, I walk to plex two. And in plex 2, I find a human-size room, large enough, barely, for my tall bones to stand without my hat brushing the ceiling. I have found room two.

So in this hideous triangluar capital, I've found city sector 2, hab 1, block 3, complex 2, room 2- a room of human size that humans can live in, although again excessively triangular.

While the room can be subdivided furhter, there isn't a practial need. The study of spaces is a study of humanity, and human brains are meant to toy with ideas on a human scale. A room is an excellent place to start. If i subdivide this further, smaller, only dogs can fit, in the next level. or even smaller, only roaches. Smaller still, bacteria. It can go down until infinity, but as humans with a human perspective, as a practical matter we can stop short with a human sized room.

Finding the address is backwards from how I learned my place in the world in the first place. In the beginning, my room was my world, Then it expanded to the plex. Then the block. Then the hab. Then the world. And then...the galaxy.

But every time my knowledge expanded, my world appeared to shrink, until my room was the size of a dot, and I felt very small.

Here's how I learned to picture my home address, with each number as big as the size of the space it labels.

119703667-63f08180-be1c-11eb-9bbb-66f6467de636 (1)

An adress locates a point in space, and as you can see, we're just finding a small dot- the boundary of our address, the boundary of our knowledge.

Now that I've found room 21322, and sit down in the bare, brutal, Imperial triangle, I decide I wish a change. I wish to go to a different room, in a completely different zone of the city. So I'm going to make a new adress. I decide to throw out number two, the one that tells me which room I will choose.

I decide to keep four of the numbers, and simply, move them right one space. I still have the four numbers of an adress- a new room number, a new complex number, a new block number, and a new hab number. But that means my subsector space is empty.

Let me fill it.

I let the Lord of Fate decide, and roll the dice. It comes up 1. I'm headed to subsector 1 of the city, and in it, I will travel to find hab 2, block 1, plex 3, room 3.

If I do this again, and again, and again...as we all know, when rolling the dice of fate, eventually every number will come up. The rules of fate demand it.

This means that, eventually, I will roll every address. And explore every room in this benighted triangle of an imperial city.

So I can explore the whole shape, find every room, and see the city mapped out in my minds eye.

However, long before I visit every room- long before I banish my ignorance about what they contain, I will still start seeing a visceral sense of the shape of the city. The parts I know will become faimiliar, and the more I visit, the more it's overall pattern becomes clear.

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This is why the chaos game is fast.

This is why the chaos game is valuable.

One does not need to know every step of the fated path to use chaos to map the underlying order of the universe.

And so, by walking a fated path, a fath determined by nothing more elaborate than the roll of a dice, I can get exactly the same result as the systematic Multiple Reduction Copy Machine Method.

SerpinskisGasketUniqueAddresses

https://user-images.githubusercontent.com/1163925/117889521-4d252900-b279-11eb-8760-e4643446fa56.gif And that is how you can turn this very top-down, orded method of making a fractal-

And you know the most important difference between the copy machine method of exploring a city, and the chaos game method?

It's humanity.

The Copy Machine method demands that you start big. start on an inhumanly large scale. Start with a city, and split it, and split it further, and further, until you've split the whole city into equal cube-like rooms- or triangular spaces. The spaces where humans can thrive and florish only appear at the very end.

But with the Chaos game, you can start in a room. Any room. And like a child, stepping out of the room, armed with only a spell, a hope for home, and a few simple rules- you can step out and explore a whole fractal world.

We people do not work at the size of city blocks. We people do not think at the scale of habs. WE think in terms of rooms, and addresses, and relationships and randomness. We think with the eyes, and the senses, and the strengths of humanity.

Thinking like the chaos game liberrates us from the rigid brutality of imperial architecture.

This can be seen in the new construction of Cainville, as the habs come down and more livable, human spaces arise in their place.

Instead of building a city all at once by dropping a square cube on a piece of land and shoving every person into their own assigned room...we can build as we need, at a human scale, adressing each problem as it comes, with an eye to the needs of the larger system but always honoring our changing nature. Always allowing the individuals who create the enticing and delightlly fractal detail of our world the privilage of running around in ever-evolving sandboxes, and learning ever new and ever changing sets of rules. It allows us to become architects of our own fate.

We can run around, building and learning the way the best of humanity learns...from our size on up.

We can play the chaos game.

https://youtu.be/kbKtFN71Lfs?si=W9zI3oK7gUlPEu9-

Next: rewriting the rules of the Chaos Game.

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tararoys commented Feb 5, 2024

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tararoys commented Feb 6, 2024

jafar_fractals

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