‘The Lila of Maya’ as ‘The Play of Illusion’ All identifiable things in this and all universes^1 happen as complex momentary^2 emergents.^3 Complex emergents, happening^4 as seemingly continuous after-effects of series of collisions between (always) two differential, indeed random events (or quanta), present as illusions made real. A complex emergent^5 presents as identifiable ‘thing’, hence as a dream made real (or come true) whereby it’s the one-to-one collision that creates moments (i.e. bits) of realness and the (trace of the) series (of collisions) that creates the illusion-as-dream. The ancient Indian inventors of the Upanishads clearly understood this essential feature of this (public) and all (private) universes. They called it the Lila of Maya, to wit, the (real) Play^6 of Illusion. But they also realised that since the human^7 was part of the play, i.e. a niche (or bit) player, she could not escape from it and survive. (For players, i.e. emergents) there is no true freedom from the play of illusion save death.^8 So those who wanted (and want) to live on and escape the horrors of the Lila of Maya (to wit, samsara) did (and do) what every normal healthy human does, namely they attempt (-ed) ‘to make the best of a bad job.’ And they did (and still do) that by simply acting out their basic selfie (as niche copy of the SELF) survival mode,^9 albeit in two variations. Adherents (i.e. fans) of the 1^st escape^10 variation invent their own (hence private) perfect^11 fantasy universe (i.e. dream), then escape into^12 it.^13 Adherents (i.e. fans) of the 2^nd variation set about improving and then perfecting their (both private and public) job lot, that is to say, the (public) dream they are making real/true in/as their everyday (both public and private) universe, thereby escaping from the latter’s unpleasant affects.^14 In other words, there are 2 basic escape (i.e. moksha) routes^15 from the downside effects of the play of illusion, of the Lila of Maya. The 1^st is to stop playing by means of non-compliance with the basic rules of the SELF.^16 The 2^nd is either to upgrade the current private or public play (as game) or to invent a new private or public play, in which case one is more or less compliant. Compliance, depending on the degree of success, self-rewards (is signalled) with the various intensities of pleasure. Poor or non-compliance self-punishes (is signalled) with the various intensities of pain. Home © 2018 by Victor Langheld

1. For ‘universes’ read also: ‘worlds’, both virtual and actual. 2. i.e. digital, hence timeless. Time, like form (i.e. identity), emerges as after-effect of series (length). 3. An emergent, namely that which is born (of conditions), happens as fundamentally unpredictable after-effect of (serial) contact between random events. The intrinsic nature or essence (Sanskrit: atman) of an emergent is what it does, i.e. how it affects. 4. i.e. being done, i.e. made via serial contact. 5. Elsewhere called consciousness. From Latin, con, meaning: ‘coming together’, and scientia, meaning: ‘science’, i.e. knowledge. In short, consciousness means: a series (or analogue) of knowledge bits (it’s actually a systems status monitoring procedure) whereby knowledge bit is quantised as a c2 moment. 6. The play is also an emergent, i.e. born as (conditional or relative) after-effect. The ancient Indians called the play Samsara. Buddhists called release from Samsara Nirvana. 7. i.e. the human as emergent, as that which is born as (conditional or relative) after-effect. 8. For ‘death’ read: non-emergence, non-birth; non-rebirth hence non-re-death. Death is here is taken to mean demerging. The player is free if and when the play ends, i.e. when both are dead (i.e. unborn), i.e. not-emerged. 9. That is to say, by ‘doing what comes naturally,’ by applying their essential (or intrinsic) nature, i.e. their Atman/Brahman. 10. For ‘escape’ (= release from) read: (Sanskrit: moksha or mukti) meaning freedom to acting as freedom from. 11. For ‘perfect’ here read: wholly satisfying because complete, @1 or as 1. 12. That is to say, ‘escape into’, step into or enter. In short, ‘The right Way is to land.’ And one can only truly land in a fantasy, i.e. on an unpredictable differential, since ‘sameness is compressed out.’ 13. For instance, a hobby or sport, or becoming a fan of some other physical or mental activity. 14. Some fantasists, such as theists and other inventors, go public with their fantasies for the welfare of others (and their own). 15. Both escape (i.e. freedom, i.e. moksha) variations are in fact one and the same basic survival (i.e. release from incompleteness) process. So there are two basic means to freedom from (the emerged. hence given) everyday world. The 1^st is death, i.e. demerging. The 2^nd is upgrading one’s given everyday world, thereby creating a new world (either private or public). 16. That is to say, of the SELF or its selfie prior to creation, meaning: ‘doing’ differently, hence either ordering newly or reordering. Non-compliance (i.e. disobedience) with the algorithm to (self-) complete by ordering/differentiating is Original (i.e. intrinsic or innate) Sin (i.e. failure), as ‘intrinsic failure to complete’. To wit, Genesis 2: ‘It is not good (for man or God) to be alone.’