III
Radiant
“This- is the construct. It’s our “loading program.” We can load anything; from clothing to equipment, weapons, training simulations-anything, we need.”
The simulation tool we will be exploring (GTK Radiant) is freely available and used in creation and editing of the virtual “worlds” typical of a number of 3D gaming applications depending upon the ID QIIIE, being the Quake III game engine; for the purposes of this discussion which otherwise, if one intends on investigation oneself requires installation, configuration and learning how to properly use the editor, as well as installation of the game engine itself without which the editor is of little use.
Aside from the apparent learning curve involved, there is enough online tutorial documentation both text and video, available to examine at one’s own leisure or discretion; we are only interested in GTK Radiant as a tool of perceptual development and training of the mind to apprehend the relative metaphysical properties of “World Geometry” and understanding how this applies to one’s real perception of the real World construct we refer to as the “Matrix”.
We are not otherwise so much concerned with piddling around with games.
Only the minimal installation of the engine is necessary for GTK Radiant. The demo version is a relatively small file and can be obtained here:
The latest version of GTK Radiant, in my opinion is not at all useful, esp. for beginners. Though somewhat buggy the earliest version 1.11 is stable enough and far more user friendly. Unfortunately this version is no longer supported; a copy if requested can be obtained, otherwise, though not recommended, a more current version may be obtained here:
It is not possible in the engine to interface with another entity i.e. bot unless the virtual world complied is built to support its placement. A second application, Q3 build, also an .exe is required...
Has been mentioned the incomplete hue-man’s apparent inability to more than simulate by means of material technology that which our ancestors accomplished directly; yet has brought us closer than the incomplete hue-man would think of himself to restoring with ourselves a knowledge of our very ancestor’s means, despite that no body of collective investigation has been able to determine or duplicate precisely the mechanics of such means for example, that stones weighing on average 2.5 metric tons each could be fitted together with such precision that not a piece of paper can pass between them; conversely as to how both the interior and exterior of 11 buildings, from top to bottom and presumably without any kind of ‘tools’ conventionally realized, could have been hewn out of solid bedrock. [iv]
The simulative technology of the incomplete hue-man at the very least, points us in the direction to uncovering for ourselves the possible answers to these questions, and to find them we should look to the mechanics of the 3D game world.
The particular innovation superintending the illusion of a virtual world having height, depth, distance and breadth, accomplished by means of a complex mathematic process known as binary space partitioning. One may read as far into this subject as desired, though it is not a point that we even understand mathematically or otherwise much of what is going on here besides two major fundamental concepts that applies not merely to the computerized rendering of 3D images but just as well to the probable manner in which our very own perception works:
[1] “In computer graphics it is desirable that the drawing of a scene be done both correctly and quickly. A simple way to draw a scene is the painter's algorithm: draw it from back to front painting over the background with each closer object. However, that approach is quite limited, since time is wasted drawing objects that will be overdrawn later, and not all objects will be drawn correctly.”
Except that our instrument(s) of perception perform the task of world rendering much faster and far more efficiently than any computer system ever could simulate the drawing of the World we do perceive, or detect ourselves is also rendered in precisely the same manner, from back to front i.e. far to near.
[2] “BSP trees are not usually the mechanism that holds the shape. Other methods such as triangles or polygons model the shape, BSP trees are then applied to this to do hidden surface removal or ray tracing, etc. If a partition plane crosses a triangle/polygon then the polygon is split so that no polygon is in more that one partition.”
“It can help efficiency to have a balanced tree, where each leaf contains roughly the same number of polygons. However, there can be a cost in achieving this. If a polygon happens to span the partition plane, it will be split into two or more pieces. A poor choice of the partition plane can result in many such splits, and a marked increase in the number of polygons. There may be a trade off between a well balanced tree and a large number of splits.”
It is only of any consequence that we apprehend the importance of polygons and triangles as utilized primarily for the construction of any solid object, or the entire world itself- especially triangles, in the structuring of lattices, so that every convex sub-space is divided this way into leaves:
[q]So that the entirety of the world, and every object therein rendered through a transparent mesh of interlaced triangles- in short, a Net (Nt, Ntr). Psilocybin to some degree reveals this net.[5]
This only applies however to the game engine’s rendering of the world. The “world” itself, must first be “mapped”, compiled, and built. GTK Radiant is the editor used to create the world.
We will try to move through an overview of the editor as quickly as possible.
We begin with the brush the basic building block. Adjusted to any size along the x, y or z axis, the virtual world is constructed entirely of brushes. ALL brushes should as a rule are drawn initially with the common shader called caulk, named so as the seal between the world and the void. The void is very similar to the empty space of the construct. Openings to the void from within the world are called leaks. Leaks collapse BSP and halt the compiler until they are efficiently sealed.
A brush can be clipped along any axis on the grid, even from within the world and maintain a perfect seal which theoretically not even a piece of paper can pass through. The base unit of measurement in the editor is of course 8 bits or a byte. A single room is created from a single square brush by subtracting the internal brush geometry. Simply put, hit the hollow button and a solid cube becomes a room with 4 walls a floor and ceiling. This same effect is achieved by using CSG subtraction; we may place one solid brush within another, and subtract the solid geometry of the inner brush, leaving only the space occupied by it. CSG subtract in essence turns a brush inside out or literally changes its geometric polarity from positive to negative.
We may fly inside of the room, and from here place and 1st person entity who will perceive and move about in the world which is our room. Yet this is not enough for the QIII engine to work with even though at this point, so long as an info_player_start exists, will be compiled; except that the faces of all the brushes, being made of caulk will be thrown out, rendering a completely unperceivable world whose facing planes infinitely sub-divide. Also there is no light in the world, so even once textured remains completely dark. This unless a sky shader texture is placed on the ceiling surface facing inside the room (as is done here). Note that only the surface of the brush and not the entire brush is ever textured, otherwise EVERY textured surface will be rendered by the engine even if it exists outside the map. Brushes wholly textured with any shader will create a leak, as shaders are not considered solids.
We may place any assets i.e. available entities we like within the compiled world and they will spawn once the engine is run. These may be models, weapons and ammo, health, armor or power-ups. Once the map is compiled and the engine is run we may use the console to enter those commands that will show us exactly how the world is rendered by the engine:
~ (to bring down the console)
/developer 1
/r_showtris 1
This only a very minimal overview of the editor’s functionality, as mentioned is it more the purpose of using it at all to condition the mind through exercise in developing the muscle of structural perception of the world, and apprehending the parameters of the world as based on a set of rules, albeit some modular, others static – though which no less apply regardless to whatever sort of “world” we find ourselves in.
It may happen over time, and in conjunction with one’s meditative practices, that the lucid, or dream-world gradually acquires as much sensory input or “realness” as the “waking” world, wherein one is able to detect odor, taste, temperature and may even feel pain in one’s dreams.
He may also be able to apprehend the outline of a modular brush, or peel away and change the texture of the dream-world in question, realizing texture, just as in the editor, is the very least of things that give the world its substance being the mere descriptive appearance of what is perceived as “solid” (concrete), “glass”, “sky”, “light” “shadow” or “liquid”. He will learn this through the application of shader textures of various kinds; and by focusing the muscles of perception in his practices eventually be able to edit substances of the world just as easily as in the editor itself.
Ua Mer
F.O.B.C.
Sunday, November 06, 2011
[iv] The term "incomplete hue-man" is not intended as a derogative epithet, though the term "hue-man" -as opposed to human- a contrived term, by its spelling, to distinguish non-white ethnicity, race or indigenous cultures, primarily African or derived therefrom. The operative word in this phrase however is incomplete, that is, rather than suggesting underdevelopment, an overdeveloped construct of consciousness handicapped by dependence on simulative material means and based largely in superficial rationale.
[q] As often as has been said that much by our means of notice is taken for granted applies no less here; our ancestors did not have the luxury of assuming that anything perceived was less than a mystery as long as any attempt was made to apprehend it-that is just what sorcery aims to do and just what we strive to learn to do. It makes no sense to try and bend the spoon, i.e. explain things. That is what non-ancestors do and call it "comprehension"; again mis-educating us to thinking of learning in terms of explanations- "theories". The non-ancestor's entire reality is based on comprehension of theories and built almost entirely upon guess-work. The only requirement that the guess "works", proves the theory is right, even if it destroys in the process. Destruction at least is useful as a weapon of war. The ancient sorcerers, as do we, had to earn their explanations of reality through apprehension- direct handling. For them nothing wasted and everything they perceived was a substance. For the ancestor to perceive a thing as trivial to us now as a reflection on water, proved the existence of other Worlds in other dimensions that they learned to handle directly by the effort of perceiving them. And through long trial and error eventually apprehended without any need for acknowledgement, denial, debate, explanation, comprehension, understanding, conjecture, theory, hypothesis, nor especially - "proof". The proof is the substance perceived. All we need do is to perceive it.
There is otherwise nothing to be proven in the destruction of property or the loss of life.
Taken for granted since we only refer to them as illusions and not realities. Why we are miseducated, and the effort is deliberate; from elementary math to quantum physics, the power to destroy is the world's most expensive secret and war is a members-only club. No one is going to teach you how change your reality as long as they are not part of the change. Everyone wants substance yet no one wants to be a substance. We know and have practiced, performed and proven sorcery, al-khemi and music long enough. We've just been too busy trying to assimilate somewhere we don't belong , and it is costing all of us our substantiality. Our lives, our very real existence. We reach in our hat and pull out a handful of phantoms.
"Everything is everything"
"It's all good."
"You know it too"
We already know what the first matter is- we've only allowed ourselves to treat it as an illusion and substitute reality for a theory.
"Seeing" don Juan says again and again - is not a matter of talk.
[5] It is relatively easy to perceive this net or mesh without psilocybin as it is nowhere hidden from view as long as one intends on seeing it. Here is the major distinction between lesser and the greater, the pentad and the hexad the perception and the perceived, the former exercise of which is treated here being the more important, though the most dangerous esp. for anyone who has not resolved the difference, i.e. who is not surprised by themselves.
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