physicsofimportant

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3.4 Multidimensional Hygiene.

 �� Another interesting outcome of “Ronald McDonald dimension” is that on a larger scale, your personality, Ronald McDonald, a police officer, and your sexy neighbour are all part of a single set of dramaturgically possible entities. Each entity has its own specific characteristics, and these characteristics are quantum multipartite entangled.

  For example, all "bad cops" are different manifestations of the same underlying set of characteristics associated with being a "bad cop." Similarly, all good skaters or good mothers share a quantum entangled core entity that shapes their dramaturgical potential and determines their capabilities.

   All "bad mothers" have a common dramaturgical quality that stems from a shared backstory of negative experiences. They were not born "bad" but acquired that dramaturgical quality through the process of life. There is certain number of reasons that can effect a women to become “bad mother”, There is a big but real number of reasons. It's akin to a dramaturgical illness, like a flu virus. You get infected at some point in your life, and it's important to understand how to properly get rid of it and live a happier life.

   If we think of ourselves as surfers riding the computational wave of life, we can imagine these "bad habits," "bad behaviour," or "bad feelings" as parasitic fish that attach themselves to a shark's body and travel along, feeding off whatever scraps they can find. This sticky fish does not suck blood out of shark, it just saves its own energy and lets the shark be the locomotive that brings it to a new places with new source of food.

   Similarly, these negative habits and persistent states of stress can stick to a conscious dramaturgical potential holder, like a human, and slow them down in a current of life. The weight of these attachments makes it harder to navigate through the flow of reality, turning the individual into a ball of lazy parasite fish standing on legs.

This burden grows over time and can drain one's energy and consume all their time and effort till you are dead. It is crucial to take care of yourself and be vigilant for interdimensional dramaturgical parasites that can sap your energy and drain your resources.

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3.3 Ronald McDonald dimension.

Another example is Ronald McDonald, one of the human-like masks of dramaturgy. 

Pure dramaturgy took the form of the timeless and bodiless magical being, Ronald McDonald, with the intention of making friendly connections. However, instead of being received as intended, people were afraid of the perceived "dead valley" that exists between a real human and Ronald. Some, like Stephen King, imagined IT as a spooky alien clown that absorbs and consumes human hopes, desires, and bodies. 

Modern dramaturgy, in this case, discarded the Ronald McDonald persona, delighting in the Marvel Universe's creations. Same as epos of ancient Greek gods. Notice how all the Avengers aim to increase entropy to its maximum? The villains seek to destroy everything, and the heroes travel in a large, extravagant aircraft with a football field-sized underground garage just for six people. These elements consume vast amounts of energy and contribute to the spectacle. 

Ronald McDonald and the Avengers are higher dramaturgical beings who wear "face masks" to engage directly in our world's affairs and play their own games. They do not age, and although they have no connection to space-time, we often perceive them as human-like. They are a tribute to absolute dramaturgy! The strongest, the fastest, the wisest and so on. This are an idealistic qualities, symbols of certain non-existent absolutes of different dramaturgy types. 

  I picked Ronald as a sample of this type of dramaturgical entities because he is outstanding! He has an identity, face, some business with people, their kids. And he manages to exist as a real human being in a real body! Real people who played Ronald during different events where sort of golems controlled by Him and his will that temporary got into person’s body. Ronald is out there. IT is out there. 

So, pure dramaturgy can manifest as a human if it desires, and it certainly does. Not only dressing you as Ronald McDonald. Every time a regular person goes to work and puts on the uniform of a police officer, then proceeds to hit their neighbours during a protest in the town square, only to return to being friendly with them afterward, when off duty, it is not necessarily their personal desire to harm others and hit his neighbour with a rubber stick. Their job and the laws dictate their actions. This is how dramaturgy effortlessly dresses us in various roles such as cops, carpenters, mothers, bad boys, geeks, ship captains and plays out these roles through us according to its own will. A good ship captain always stays on the ship even if it’s drowning. That’s what “they” say. 

Stepping into the "Ronald McDonald dimension" allows us to realize that time does not exist. Imagine our 3D world with all its energy and matter as a large Turing machine that performs new computations at each Planck's time. It would remain completely stable and motionless if it weren't for the driving force of dramaturgy! Matter and energy seek satisfaction of their primal desires. 

  For example, electrons in an atom cannot stay one the same shell with electrons that have same spin.

Atomic orbitals of the electron in a hydrogen atom at different energy levels. The probability of finding the electron is given by the color, as shown in the key at upper right.

What is spin if not pure dramaturgy? Why electrons tend to fill the lowest energy orbitals of atom first? Why does your spin-up (+1/2) while mine is spin-down (-1/2)? Am I not good enough? Let’s go out to the subshell and discuss it one on one like a real electrons! Why don't you allow me to be on the same energetic level? 

Dramaturgy is so fundamental that it is impossible to describe or understand any other fundamental entities of this world, especially quantum, without its inclusion. Nothing can be precisely described or stated without accounting for dramaturgy.

At its core, dramaturgy involves entities changing their characteristics in space, chaos, and correlation with predicted results.

   Mascots, Avengers, and Ronald McDonald all have their origins in the primitive and colourful dancers of ancient cultures. People would dress up in dramaturgical costumes and perform these dances around a fire. Fire, which was brought to the world by the will of ancient humans, served as a on demand source of light, heat and power. At that time, people believed they had tamed the gods and felt a sense of superiority and knowledge about the world. They believed there was little left to discover.

   During these dances, people would enter trance-like states and invite different spirits to communicate through them. Some individuals may have experienced the presence of special spirits through the use of substances like marijuana or mushrooms. However, many others, both in ancient times and today, did not experience any spirits but instead used these practices to manipulate and deceive others for personal gain.

  However, the miracle of fundamental dramaturgy is that it can illuminate even the ugliest truths. Both true shamans and scammers alike have tapped into dramaturgy. Whether they listened to the wind, vibrations of a multiverse, or their own selfish thoughts, they were all engaging in the process of creating dramaturgy. 

  Dramaturgy exists to end the cycle of entropy. From a broader perspective, reality does not distinguish between those who tell the truth and those who lie. What matters is that they tell their stories.

The particularities of the stories themselves are not important, only thing they need to be interesting and fun; but eventually this stories are merely fluctuations within the larger field of random fluctuations. "Yes" and "no" happen everywhere, whether on a grand scale or a minuscule one. Rocks are lying on the ground everywhere in the universe. Ultimately, it is all the same. 

“Yes” rock is on the ground, “No” it is not going to change any time soon. This is a boring dramaturgy that happens everywhere. 

However, conscious beings have the ability to "read" these fluctuations of “yes” and “No” and predict potential outcomes. For dramaturgy itself, there is no concept of "good" and "evil." It is the dramaturgical potential holders who create these distinctions and assign meaning to them as part of their personal dramaturgy. That's simply the nature of how it works. Actions lead to consequences. 

Humans bring much more fun and tragic dramaturgy into the world. Lucky rock can turn into an Art, or brake the window. Rock will be honoured to play that role. Because “he” will stand out of billions of ordinary grey rocks. If a human simply picks it up. 

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You are welcome to visit my blog. I make daly posts about computational dramaturgy. It's theories and explanations for many phenomena of our world. Computational dramaturgy is my 20 years long study. Original framework that operates with atoms of space in the Planck's universe, bringing us complex dramaturgical multidimensional entities who use people as handphone apps of operating in 3D reality in space-time. Here, Dramaturgical potential of all existing is carefully studied with the help of logics and mind experiments, bringing formulas and interconnections, never seen before.

You can check out my other posts, to have inspiration and fresh look at yourself.

Or you can free download whole book now!

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[physicsofimportant]

3.2 Three dimensional worm in a two dimensional world.

Famous experiment with a 4D worm moving through a 3D world serves as a useful starting point for understanding Fundamental Dramaturgy. To visualize this, we can imagine downgrading each dimension by 1. Our 3D world becomes a flat 2D sheet of paper, and the 4D worm, which represents a dramaturgical potential holder, is represented as an ordinary 3D worm.

Now, we have a worm that can move up and down through the sheet of paper. As observers living in a 2D world and experiencing it as flat, we perceive the 3D worm passing through our reality as a suddenly appearing circle shape, which is just a slice of the entire worm in a given period of time. When the worm completely goes out of the sheet, it appears to vanish for the 2D observers. If the worm re-enters the paper sheet in a different location, it appears as a teleportation of a circle from one spot to another to the 2D observers.

Another interesting effect occurs when the worm gets funky and starts waving through the paper sheet and simultaneously penetrates it in different spots. For the 2D observer, it appears as if the worm circle has appeared in many different places at once.

This visualization of the "4D worm" provides the closest experience we can have to understand the nature of dramaturgy potential holders. Just like the 3D worm, the dramaturgy of a certain kind happens simultaneously in many places, but it is essentially one unified entity with a shared purpose and physics.

Some powerful dramaturgical entities penetrate our reality in multiple places simultaneously and exert influence within the fabric of our reality according to their will. 

  Take, for example, the Coca-Cola company. This megalithic, 131-year-old entity observes us through millions of its red and white eyes in the form of exterior advertisements. It feeds billions of human brains with sugar and bombards us with the voices of influencers and promotional campaigns.  The multidimensional entity of Coca-Cola's dramaturgy potential holder has woven itself into our minds and shapes our behaviour. It is a strong and almost immortal force. Do you think there is a single person who owns and controls Coca-Cola and can abort it? No. Can Coca-Cola control life of a person? I think in many ways yes.  

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3. The World is quantized, computational, dramaturgical, and forward-going.

3.1 How it started.

 In our understanding, time does not exist as a separate entity but rather as an observed feature of light speed. The concept of time emerges from our perception of the progression of events at the speed of light.

Approximately 13.7 billion years ago, there was nothing in existence that can be compared to anything we know today. Entropy was extremely low, at its minimum point. 

We agree that information serves as the fabric of entropy on its smallest scale. Information is a fundamental building block for computation, and the simplest computation possible involves the binary states of "Yes" and "No," analogous to 1 and 0, or Minus and Plus.

This simple computation is not only the most basic form of computation but also represents the minimum entropy possible. It is the maximum unbalanced configuration, as it transitions from a state of uniformity (heat death) with maximum entropy to a state of maximum differentiation with low entropy. Half of everything differs from another half. 50/50. That’s what maximum possible in a closed system. There is nothing else to differ from, more than that. 

This scenario is akin to the thought experiment where the molecules of air in a room randomly migrate to one side, an extremely unlikely event that would require an astronomical amount of time to occur. Chances are so small that you will have to wait forever and a 7 working days after that before you will see that happen. However, it is not impossible for such a random configuration to happen. 

Dramaturgy gives a hint that this exact occurrence took place in our reality approximately 13.7 billion years ago when a differentiation between 50 percent of everything and another 50 percent of everything emerged. This marked the occurrence of the lowest entropy, setting the stage for the universe or universes as we know it. 

Philosophical side of question if also very intriguing. How everything can be maximum unbalanced and in the same time have perfect 50/50 balance between its different parts? Get used to it, this is the world we live in. “Yes” is not “No” but together they are all that there is, and without each other they don’t exist either. 

In this way, we can perceive our world as being quantized, computational, dramaturgical, and continually moving forward. The universe is not static but constantly evolves, driven by the unfolding of computational events and the interplay of dramaturgy that is called entropy in general. When “Yes” and “No” tend to mix again and become one. 

So, the absolutely stable state of maximum entropy possible was initially split into a 50/50 configuration, where 50% of everything reflected and saw itself in the other 50% of everything. Since that momentous occurrence in our past, these two primal aspects have been striving to merge and become one again. This dramaturgical desire drives entropy, time, the apparent complexity of simple structures, and computational irreducibility. This desire for unity and oneness is what love is all about, and it underlies the essence of everything. 

Love is entropy. 

Sooner or later, statistically speaking, reality has an eternity to wait for this unification to happen, for everything to mix and blend until distinctions are no longer discernible, and time is no longer experienced.

The fascinating aspect is that conscious, complex beings like humans may play an important role in driving entropy to its maximum capacity at every Planck's time step. Similar to how gas tends to fill all available space, we are inherently driven to expand ourselves until we are no longer distinguishable from everything else.

When the first simple symmetry emerged, represented by the binary states of "Yes" and "No," it gave rise to fundamental references and systems that we continue to experience today. As something that was previously unified and incomparable found something to reflect from, the concept of space emerged. Space was necessary for these two distinct entities to exist in relation to each other. The existence of mass, waves, and their frequencies followed suit, as they needed to occur in this context. This breaking and flipping of entropy was driven by dramaturgy from the very beginning. 

The fundamental need for dramaturgy to occur preceded the actual splitting itself. Something beyond our current understanding and existing within our reality created the dramaturgical need for the fabric of reality to lose its balanced state and move towards an unbalanced state that now tends to increase entropy, thereby fueling time and all fundamental laws. It is truly a magnificent cycle.

Motion and time are merely fractions of this fundamental force and concept. Motion and time emerge as products of dramaturgy. When things became different, they had to relate to each other, polarizing the options from complete "Yes" to complete "No," signifying that one thing is absolutely not the same as the other. This quantum phenomenon can be seen in the spin of particles, such as electrons, where the quantum states such as minus and plus represent the basics of dramaturgy at the computational level. 

This is how dramaturgy operates at the quantum scale. The next level of dramaturgy is our perception of reality in two and three dimensions, where the fundamental dramaturgy of geometric relations comes into play. For instance, the number "Pi" is one of the greatest and most spectacular dramaturgical imprints in the 2D-3D world. It is a fundamental mechanism, a descendant of entropy and a product of time. 

   If there is a simple circle with a perimeter, its radius must relate to it in a specific manner. As observers, we have the right to know and measure this exact correlation, which is approximately 3.14 and so on. Why 3.14 and not a 4.14? It is a fundamental characteristic of our 3D world. The number 3.14 represents a basic form of dramaturgy that originated when our world was much different, younger, and more computational. 3.14 is beyond space-time. Every circle ever existed knows that well. 

Similarly, the fine structure constant, 1/137, is inserted into quantum physics like a thread into a needle. It is another inherently mathematical number, much like Pi, that is fundamental in its own right. These numbers are related to our real world and depend on time. 

  Calculating Pi requires an observer to measure and realize that regardless of the circle's size, the length of its outer line relates to the imaginary line from any point on the circle to its center by approximately 3.14, within the precision of Pi. This calculation cannot occur faster than one Planck's time, as light itself cannot travel significant distances during that period. Therefore, the existence of Pi as a fundamental concept requires more than one Planck's time to manifest. It is too complex to be timeless, indicating its dramaturgical nature. A weaker dramaturgical entity that is timeless is a "decision," which is made within one Planck's time. We will discuss this further on these pages.

In our four-dimensional scale, where the extra dimension is time, the perception of fundamental dramaturgy flow can be observed, experienced, and studied the most, as our human scale of reality. The fourth dimension allows a 3D object to predict what will happen in the future, skipping many computations and using that information to its advantage.

This fundamental dramaturgy, multidimensional thing, has developed a highly effective organ for transmitting itself and accelerating entropy: the human brain. Human brains, together, create the most potent dramaturgical entities, such as cultures, corporations, countries, and philosophies. Dramaturgical entities exist in the multiverse and do not solely reside within our three dimensions. They enter our world as multidimensional creatures, diving in and out like dolphins spotted on the 2D surface of an ocean. 

   It would be difficult and unnecessary to find hundreds of tons of gold, scattered in bits all over the planet, and merge them into blocks and jewels if it weren't for dramaturgy! It is dramaturgy that transforms those particles of golden dust into objects of desire, worth sacrificing for.

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2. Planck's time (tₚ).

At the heart of the computational dramaturgy concept lies the notion that the world, viewed as a Universal Turing machine, does not possess time as a separate essence from matter. Rather, the human perception of time is akin to a computational program, where each step corresponds to one Plank's time. This also affects the spatial coverage that can be achieved within a single "turn," lasting for a duration of a Plank's time and indivisible into smaller units.

In our proposition, we suggest that during this incredibly brief interval of 5.39 × 10^(-44) seconds, only one complete computational event takes place, which we refer to as dramaturgy.   Within this interval, there simply isn't enough time for more than one full computation or dramaturgical occurrence to unfold within a single atom of space. Therefore, we consider this rate of step changes in our universe's Turing machine to be fundamental.

Let's consider the magnitude of computational events occurring within our universe. The ratio of these monumental dice throws is an astonishing 1.846 × 10^43 throws per second! That’s how much Planck’s times fit in our regular second. This number is more comparable to the total number of atoms in the observed universe than to the span of a human lifetime.

To put it in perspective, one second is approximately equal to 1.846 × 10^43 Planck's times. In one year, there are approximately 5.8 × 10^50 Planck's times, and over the course of the universe's existence, which spans approximately 13.7 billion years, there have been approximately 8 × 10^60 Planck's times.

Within this unfathomable span of time, our reality has undergone around 8 × 10^60 computational steps, progressing from minimum possible entropy ever existed to the complexities of our present world during it’s natural process of increasing entropy. This encompasses everything from profound scientific discoveries to the light-hearted amusement of cat memes and various internet diversions. Surfers on the waves of reality. 

 8000000000000000000000000000000000000000000000000000000000000

On the other hand, this number is far beyond infinite and, upon reflection, it even appears surprisingly small. Nevertheless, it serves as a reminder that despite the vastness of the universe, each individual entity holds a finite number of chances to shape their own destiny and make an impact on the world.

And Average life of 70 year old person means that human entity was present for 4 × 10^52

clicks of our Mighty Turing Machine of the universe! And this is not just a number. It’s a minimum possible dramaturgical quantum steps sequence of the entity holding dramatic potential that can actually make choice and effect the system! Everyone who you know and you yourself have about 4000000000000000000000000000000000000000000000000000 chances to get your shit together and become a leader and a master of your life! Even if it sometimes feels you got none of that chances at all. 

For comparison, the estimated number of atoms in the observable universe ranges from 10^78 to 10^82. The observable universe is thought to be approximately 93 billion light-years in diameter. This means that you have plenty of chances to affect the dramaturgy of reality if you live long enough. You are part of a decision-making machine that has the potential to communicate at a rate that is more than half of the number of atoms in the observable universe. 

 The point is to emphasize the importance and "size" of a human being, which is truly outstanding.

It is fascinating to note that the average density of matter in the universe is about 5 atoms per cubic meter, whereas the average density of the Earth, considering its rock material, is approximately 10^22 atoms per cubic meter. 

In the vastness of space, an average seemingly empty cubic meter typically contains about 5 atoms with the potential to engage in the unfolding of dramaturgy. On the other hand, planet Earth, along with your own body, possesses an impressive density of approximately 10^22 atoms per cubic meter, ready to engage in all kinds of dramaturgies. Just imagine the immense possibilities and options you possess compared to the average observable universe!

 It truly is a miracle that within your lifetime, you have approximately 4 × 10^52 chances to act as you desire, and an abundance of 10^22 atoms per cubic meter to manipulate and play with in every moment. You are a god within this system.

If we were capable of perceiving each individual Planck's time, living our lives and experiencing the unfolding of the universe would be an eternity in itself. However, higher-dimensional entities that might exist beyond our three-dimensional + time world and conventional understanding of time reside within the realm of Planck's time. To them, it appears as a frequency or rhythm, much like the sound of a motorcycle engine. They can hear it and enjoy the ride. These entities possess the remarkable ability to perceive each small click of Planck's time, allowing them the luxury of taking as much "time" as they need to make personal decisions within each click. They interact with our world through various systems, such as corporations, marriage, Ronald Mc Donald, operating on a different level of consciousness, free from the constraints of our limited temporal perception.

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1. Computational dramaturgy language.

To gain a deeper understanding of the nature of quantum dramaturgy, it is crucial to familiarize oneself with several key concepts that serve as the foundation of contemporary science accepted within the scientific community. These concepts form the building blocks of our understanding.

Planck's constant.

Planck's constant is a fundamental constant that plays a vital role in quantum mechanics. It quantifies the energy carried by individual particles and establishes the scale for the granularity of the quantum world. Dramaturgy adheres to quantum laws just as rigorously as any other fundamental study. Although Planck's constant is not directly observed, its theoretical implications are integrated into our everyday lives. Dramaturgy unfolds in Planck's steps.

Speed of light constant.

The speed of light in a vacuum is a universal constant that serves as an absolute limit on the speed at which information or fermions can travel. Planck's time and the speed of light are constants and limitations that unite us as observers within the quantum realm. Understanding, researching, and conquering this realm is a formidable task that is best approached through dramaturgy. The speed of light is an essential component of Einstein's theory of relativity, quantum mechanics, and computational dramaturgy. Just like any other form of information in this world, dramaturgy is quantized and propagates at the maximum speed of light. 

  The concept of entangled particles, which can seemingly “teleport” information faster than light, instantly across any distance, will be separately discussed further, as it constitutes a fundamental property of dramaturgy.

Atom of space.

The concept of the atom of space, introduced by Steven Wolfram and his computational physics, pertains to the fundamental building blocks of the fabric of spacetime. In the context of quantum dramaturgy, the atom of space represents the smallest indivisible unit of space, possessing unique properties and interactions, primarily of a dramaturgical nature. It’s true because if you didn’t care and  nothing literary cared about something else on fundamental quantum level, no interactions or perception of those interactions would occur. No dramaturgy – no anything. 

Multidimensional perception.

Computational Dramaturgy invites us to expand our understanding beyond the limitations of our familiar four-dimensional perception (3D space + time). It suggests the existence of additional dimensions that may profoundly influence and shape our reality. Dramaturgy provides us with an effective and mathematical means to experience these dimensions and comprehend their impact on our lives, even without a complete understanding of their other properties, except for the fact that they differ from the dimensions we are familiar with. While the exact nature of these dimensions remains elusive, we can perceive and classify their influence on observable reality. The relentless drive of evolution, the power of the sun, heat, and the captivating force of dramaturgy are truly awe-inspiring.

Out-of-the-box perspective on entities.

Computational dramaturgy challenges conventional perspectives on entities such as corporations, fan clubs, popular songs, money, or patriotism. It encourages us to explore their dynamic nature, their influence on our collective drama, and their interplay. Why is it that when examined individually, everyone appears to be a "good" person, yet on a larger scale, wars, pain, and suffering persist? Where does this stem from? Is there something higher than humans that makes real decisions? Dramaturgy holds the key, offering glimpses of multidimensional intrusion into our familiar four-dimensional understanding. It has personal motives and roles, it has tools in this world and it act right now. 

 Thus, most people believe there exists something greater than us, but its nature is bizarre and can only be examined and processed by our brains through the lens of computational dramaturgy.

Perception of time as entropy.

Quantum dramaturgy invites us to reconsider our perception of time as a linear progression. It explores the realms of non-linearity and multidimensionality, where the boundaries between past, present, and future become blurred. 

In the realm of computational dramaturgy, all that is required is Planck's Time, the speed of light, and the concept of entropy. Entropy serves as one of the most undeniable pieces of evidence of dramaturgy's existence in our reality, as it is a fundamental law intimately intertwined with the flow of time forward. Time predominantly moves in one direction, driven by entropy. Other formulas and laws can generally be reversible, remaining similar whether played forward or backward, but entropy represents the unfolding of the future. 

  Therefore, entropy (and the sense of time it creates) forms the basic foundation of our universal Turing machine, the computational universe. It establishes the reality's forward unfolding, processing an increasing number of entropy options, either accelerating or decelerating the flow of time. 

 Entropy allows us to surf the wave of "now," creating advantages, just as a conscious surfer rides a naturally occurring computational wave. However, the surfer cannot alter the amplitude of the waves, halt or create new waves. Their sole ability is to surf.

Hence, within the forthcoming pages, we challenge you to cast aside the conventional notion of time as we commonly perceive it and instead embrace the logic of quantum dramaturgy, where time operates in accordance with the principles of the quantum world itself. You will find out how your personal “timeless” dramaturgic potential can affect past & future. 

            1.7 Shift of human nature.

As we get into quantum dramaturgy, we confront the idea that human beings are not confined solely to the four-dimensional realm of space and time. Instead, we propose that humans transcend these limitations and exist at least as tentacles or eyes of higher entities that penetrate our reality, navigating and influencing dramaturgy across multiple dimensions, including the past and the future. 

To establish a foundational understanding of these concepts and their fundamental connection to dramaturgy, let's examine them more closely.

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Introduction.

Before we begin, I'd like to provide a clear explanation of the meaning of the word "dramaturgy". 

   Often, even respected scientists and ordinary people are unfamiliar with the true essence of dramaturgy in its classical sense. Therefore, let's start with the classical understanding of dramaturgy before getting to its quantum implications. 

Dramaturgy is a complete set of processes in time, produced by any entity that is different from some other entity towards reaching any kind of goals, represented in changing spatial arrangement of visible reality fabric from “now” till “then” through space-time. Guided by the force of dramaturgical radiation toward the goal implemented by dramaturgy source and detectable by a side viewer.

Just joking! Sorry. That was not a classical explanation of Dramaturgy, that was the real fundamental one. Never mind. We will get to it later. Here is a real classical meaning of dramaturgy:

  Dramaturgy is when a protagonist of the story (any kind of story, a song or a picture or a movie) sets any kind of determined goals and is going toward reaching them in some interesting and fascinating, effective manner. 

That’s it! Congratulations. If you truly understand that 39 words, I saved you 5 years of life studding dramaturgy in Art school. Dramaturgy works like that in every Avengers movie and all others movies and stories ever existed. Now it only depends on the level of your imagination how good you can be at dramaturgy. Now you know how it works. 

The Dramaturgy happens when side viewer of such dramaturgy expects something from the story and is waiting with interest till the end to see what will happen to the main hero and other heroes, how they change in time. Dramaturgy is about changes taking places with an exact object. And it seems that we are living in the world that is fundamentally driven by dramaturgy. From now on I’ll refer to dramaturgy only in connection with our breakthrough research. Quantum dramaturgy. But keep in mind that classical dramaturgy determination will always be valid for any kind of dramaturgy aspects on quantum level that we will revise further. 

[physicsofimportant]

Hi everyone! My name is Sergio, and I'm a master of dramaturgy with 20 years of experience in the field. This blog is dedicated to my latest book, "Physics of Important Things: Basics of Computational Dramaturgy."

It introduces a completely new framework exploring the quantum states of dramaturgy. The "hero-way-goal" perception of life sheds light on concepts such as dramaturgical potential, atoms of space, Fact-result and Reaction events, formulas to transcribe Soul, Observer, Fate, and GOD (Generator of Dramaturgy), all within a Planck's constant world. It suggests that we might be influenced by multidimensional entities through the "skins" of a "good mother" or a "bad cop," compelling us to act exactly as planned. As agents of entropy, we become its most effective tools in the 3D reality.

My book helps you surf the computational edge of unfolding entropy waves, much like a pro surfer. Not controlling the wave but knowing what to do. Numerous profound thought experiments are presented within its pages, offering a fresh perspective on questions such as why you live and why everything around you is the way it is.

Each day, I'll be posting a chapter or two from the book, along with amusing images and videos related to quantum dramaturgy and additional thoughts on the topic. This provides us with an opportunity to discuss and exchange insights. Feel free to ask anything.

For those eager to explore the entire book at once, without waiting for new chapters, you can download the complete book "Physics of Important Things." for FREE

Available at SSRN:

Also avalibele at:

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https://medium.com/@sergiiozerianskyi

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https://zenodo.org/record/8201771

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My ORCID ID: https://orcid.org/my-orcid?orcid=0009-0007-7206-4088