An eternity of nothingness would be infinitely boring. So, an entertainment platform was devised.
Universe after universe, entertainment evolved. A force of coherence creates the actors and keeps order. A universal, unified, Ĉonsciousness which localizes witnesses the drama. That process is what we call existence.
Nature is the exhibition of existence. Though the idea that Nature is a theater has rarely been expressed by philosophers or sages, the ingredients for entertainment are familiar, as they are the foundations of physics and biology.
1st, a singularity is a non-starter. Diversity is a necessity, and the more the merrier. Hence, a proliferation of distinctive objects, occupying space.
2nd, a chaotic jumble has no appeal, as it would make no sense. There must be storylines. That requires consistency, continuity, and thereby the feel of time flowing by.
3rd, objects must interact. A cosmic system must be entangled.
This 3rd ingredient also indicates that entertainment arises from activity, not objects per se. That minds focus on and seemingly comprehend objects much more readily than processes denote a basic misdirection in mentation which makes living more difficult than it would otherwise be. We’ll follow through on this observation shortly.
These first 3 facets form the stage upon which conscious actors behave.
The best stories have an organic feel to them. Lifelike. So it is in the theater of existence.
An actor amid Nature needs 3 things: consciousness, a mind, and a body. Consciousness is a witnessing capability: the ability to be aware. A mind acts constructively as an information server and a filtration device. A body must appear to be present on Nature’s stage.
The mind-body is necessarily inseparably integral. What happens in the mind affects the body, and vice versa. Mind-body entanglement provides the appearance of dualism.
The next essentiality is the means for drama; ways to keep existence entertaining. This begins with actors having a will to live. Desire propels actors through their lives.
The essentiality of will to live is demonstrated by multicellular organisms. If cells lacked the desire to live, multicellularity would have never evolved, because one cell could not trust another to be a reliable partner through life.
There must be jeopardy. Every engaging story has to have the risk of loss.
Mortality is the ultimate risk. Therefore, actors must come and go.
Risk can only be inculcated by an actor feeling invested in its existence. That requires emotions, especially fear and sense of reward, which is felt as satisfaction.
Every interesting story has conflict, either between actors or within an actor. To have risk, or conflict, there must be ignorance. If the actors were fully informed, there would be no challenge to living.
While ignorance must be the norm, the drama is enhanced by there being a way for actors to achieve realization of their situation – to comprehend reality as it is, not just Nature as it appears. Outside of extraordinary examples of spontaneous enlightenment, this path must be an act of will, and skill: the ultimate achievement.
You can see how all these ingredients are necessary to create the most entertaining platform possible. Unsurprisingly, these characteristics precisely define existence.
We continue with continuing discussion of coherence and Ĉonsciousness, the 2 noumenons, or non-existent activities, which are behind all phenomena.