It's Elemental

Category: Geometry

  • Thinking Through Infinity with Projective Geometry

    Thinking Through Infinity with Projective Geometry

    whence-and-where-to
    Quita Brodhead. Whence and Where To. 2000. Oil on canvas. 36-1/4 x 48 inches. Courtesy of Hollis Taggart Galleries, New York, and the Estate of Quita Brodhead

    I’d like to offer something from the realm of projective geometry, with respect to infinity, that is (believe it or not) very practical.  I have found that projective geometry offers something that is frankly unparalleled: a way to think towards infinity which is, at every step, clear and exact, brooks no nonsense, and is communicable and hygienic to boot.  If you follow the exercise, I guarantee you will learn something about infinity.  You will learn something of its signature, to use an esoteric term, and be able to recognize it when it shows up in other forms and within other processes. Also you can blow your friend’s minds at your next get-together if you lead them through this process, and spark some fascinating discussion that will leave everyone better than they were before.

    In order to think towards infinity we have to change the habitual patterns of thinking that are called forth and repeatedly solidified through the way we usually make sense of our daily interactions with the world.  We can, however, be led through a transparent process that requires no faith, no gaps or hidden elements, to push our mental conceptions to their limit, even to invert them.  It is a process that requires participation and fails when we feel like we “have it” or have reached an answer.  The change of perception only happens in the way the exercise functionally changes our ability to, if I may put it poetically, m/a/e/ssage our consciousness across the infinite boundary.  It only works while we are doing it: once we only remember what we have experienced afterwards as a (fallen) fact, we have lost the essential nature stirred momentarily to life in our awakened thinking.

    That’s just a little preparation.  There are many ways to do this with projective geometry, but the simplest requires only three elements: two lines and a point.

    Let us imagine: line (a) stretching, as it were, horizontally on the ground in front of you, spanning left and right into the distance. 

    Now remove everything but the line and enter the Platonic space of the form itself, with no other entities in this universe. Let this universe be uncurved across all scales (we could curve it later if we wish).

    Now imagine point P not on line (a).
    Draw a line (z) through P such that it intersects line (a) perpendicularly.
    Note lines (a) and (z) now intersect in a new point, X.

    This is the setup. 
    Now, rotate line (z) in a counterclockwise fashion around point P– not too fast, slowly at first, and note the change of position of X relative to P.
    Continue the counterclockwise rotation of (z) around P, pinning the origin of your focus to P while following exactly what is happening to X.

    Soon you will start to lose your sense of the exact position of X; you won’t be able to encompass it’s relative position to P in the same way that you could earlier, when it was “closer.”  This is the beginning point of transforming your relationship with infinity in reality.

    Continue the exercise, filling in with a more exact imagination the relationship of the geometric elements wherever your attention loses focus.  Meditate it.

    Now, rotate (z) until you reach the point of parallelality. 

    Notice. Notice your noticing and what has changed in it, when you reach this moment.

    What has happened to X?

    If you were to point to it, how exactly would you do so?

    Please, do your best to not make any jumps; no leaps or gaps — if you find yourself making such shifts, do your best to fill in the process with clear, exact thinking. If you find your lines starting to make strange bends, whip them back into their perfectly unwavering straightness and try again.

    Now let us reverse the process and rotate (z) clockwise around P until we feel we are back in a manageable situation that we can fully encompass with no loss of clarity at any point.

    Rest in this more normal situation for a moment.

    Now continue the clockwise rotation until we again approach “the problem” of parallelality.  

    Approach it with a fierce consciousness.

    Euclid got here, but he failed to follow the inherent logic he himself had already set up.  Perhaps his imagination was not sufficient to follow it through, completely, continuously, and coherently.  Also, infinity is scary. In his frustration, Euclid had to add postulate #5 that forever haunted him: the parallel postulate, which he avoided for as long as he could, invoking it only when he had no other choice.

    Notice newly: as (a) and (z) approach parallelality, X approaches infinity.
    Can we do more than “approach”? Can we “arrive”?  How?

    Notice that as X gets farther and farther away from P we must slow down the rotation of (z) in order to continue following it with the same exactness we did when it was closer.  As X goes on its infinite flight, every minor angle of rotation of (z) produces bigger and bigger effects, until … 

    Place your attention upon the situation where the angle between (a) and (z) is infinitesimally close to zero… the smallest possible further rotation will make them parallel.

    What can you say about this situation?
    Can you point to X?

    Now let us allow ourselves a little leeway, and rotate (z) through the moment of parallelality so that now we are infinitesimally rotated past parallel, without requiring ourselves to account for the position of X exactly at every moment of this smallest–and yet biggest–of journeys.
    Now point to X again.

    Let us now hone in on the “problem” of parallelality by saturating our attention on the oscillation of (z) around the moment of parallelality with (a).
    See X “jumping” from left to right and back again.
    Really push for the smallest imaginable angle away from parallelality and oscillate your attention around it, making the change in angle between (a) and (z) shrink and shrink, all the while following X.

    With this saturated consciousness, rest in the moment of parallelality.
    Now point to X again.
    In what direction are you required to point?

    Let us say now that X is “at infinity.”
    The finite position of X, made from the intersection of two non-parallel lines, is somehow now an infinite position, still made by the intersection of two lines: two parallel lines.
    Lines (z) and (a) never stop meeting; they never cease having a relationship that forms a unique and singular point, even when parallel. 

    Two lines meet in a point; it’s as simple as that.

    Notice now that point P can be anywhere. 
    Move point P away from line (a).

    Does this change anything essential about the situation?
    Where do you have to point to find X when (a) and (z) are parallel but farther apart?
    What about if you move P infinitely far away from (a)?  Does this change anything?

    See that all lines that are parallel to each other share a single point at infinity.

    Let this sink in.

    And now let us speed up and go farther:

    We could have placed our original line in any orientation.  Let us place a new line (a’) orthogonally to (a) and repeat the experiment with parallel line (z’) meeting in X’.

    See that when (a’) and (z’) are parallel, X’ is a different point at infinity than X.  What is different is its direction

    Let us be clear: we are now speaking about the very nature of directionality; its source.  Remember–no–see that the distance between (a) and (z) is irrelevant.  Every line that is parallel to (a) meets at the single point X at infinity.  We can “fill in” the plane entirely with lines parallel to (a): they all meet at X.  We can even fill the volume of three dimensional space with more parallel lines, all of which still meet at a single point.  The same continuation to higher flat dimensions holds (infinitely).

    The point X, when it is at infinity, defines an infinite space of directionality. We can say that directionality is constituted solely and essentially by a single point at infinity that defines it–that direction.

    But that direction, seen from “here,” from anywhere that is not at infinity, holds within itself a kind of strange duality. Normally when speaking of “a direction” we mean precisely the lack of every other direction. This only works when we ignore infinity. To include it requires that a single direction encompasses what is apparently its exact opposite: for any point X at infinity, it is simultaneously in two precisely opposing directions. Or perhaps it is better to say that every ‘single’ direction becomes its opposite through infinity. Another way to say this is that point X at infinity connects to itself through ‘finity’ via all possible lines parallel to and including (a). A given line “here” is nothing other than a unique token of the way directionality is made manifest from its single point at infinity. The single point at infinity X, unfolded into finity, is a line.

    Place yourself now at point X at infinity. You’ll have to jump there, if you can.
    Can you feel what it is like to inhabit this point?
    Where, now, is the line for which you are the point at infinity?

    Can you feel how there is an inversion that happens?
    To ‘get’ to infinity we cannot simply move along the line… this would require infinite time to accomplish.
    We have to flip over into infinity. Our consciousness cannot maintain coherence through this flip — it goes dark; there is a kind of threshold that prevents us from maintaining the same kind of wakefulness that lawfully got us to the moment of the flip. We have to abandon the very process that was the only reliable source of coherence in order to cross this threshold. But having trained ourselves via the process, we find that what meets us at the threshold is itself lawful, and that to pass through it our consciousness must perform a lawful act. This act is a kind of inversion; an insiding-out/outsiding-in, not just of consciousness but of space itself. It is making all the previous distinctions newly, but inversely. What was once approach is now recession. The center and the periphery have flipped into each other.

    When looking “from here” we can count steps of a process, we can traverse more or we can traverse less, we have extension and duration and all that comes with relating those together with finite means.

    When looking “from infinity” any step is a step “into” the non-infinite, an inversion into space and into process, into differentiable uniqueness. At infinity, uniqueness is, as it were, collapsed into itself; it is no longer expressed outwardly but only inwardly. All the potency spread out through space “here” is concretized inwardly at the infinite. From infinity the whole universe is found infinitely far within.

    Pause for a moment.

    Let us return and gain further contextualization.

    And as we have seen, parallel lines (a’) and (z’) meet in a different point at infinity, X’, which then constitutes the way that all possible space is contextualized from that specific (dual) direction.

    And see now that we must go further, and point out that X and X’ are two distinct points, which as we know, can be connected by a single line.

    Where is this line (x), that connects the two points at infinity X and X’?
    Can you point to another point on this line?

    See that any direction in the plane shared by (a) and (a’) has its point at infinity that lies on this new line (x).

    We must say that line (x) is a line at infinity, and that every point on this line is likewise at infinity.

    Can you imagine walking along this line at infinity?
    Can you feel something of the nature of this line at infinity, something of its character, its gesture?

    Place yourself at point X at infinity, and now look at point X’ at infinity — what direction is it in?
    If you wanted to reach it, how could you do so? What possible moves can you make and not fall back into non-infinite space?

    There is only one possible move, and that is to move orthogonally to the direction of the line (a), whose point at infinity you are. But you will have to move infinitely far along the orthogonal direction.

    See how infinity becomes contextualized by orthogonality in addition to directionality.

    Like any line, between any two points lie an infinity of other points. Let us imagine one such point X” between X and X’. Notice that no matter how close you place this new point X” to X, the two points are infinitely far away from each other along line (x). Notice that from “here” we meet line (x) always orthogonally, no matter which direction in the plane we point.

    Now we can see that just as the single point X at infinity concretizes itself across the infinite boundary as a line, so too the line (x) at infinity concretizes itself across the infinite boundary as a plane. A line at infinity is a plane “here.”

    We see that there is a tendency to think of this line at infinity as a kind of circle. It is the only form that we can recognize as having similar properties. The line at infinity surrounds us; I can point in any direction in the plane and will meet the line at infinity orthogonally to my pointing. Despite this, the line is always and only ever straight. It does not curve, waver, or fold. It is exactly as much a line as any other, constituted precisely by the way all its points share directionality. But we see that this directionality at infinity is always orthogonal to all directions by which its points are reached from “here.” When we follow our pointing from “here” to X and then to X” we can measure some precise angle swept by our arms (for remember, we must point in two directions simultaneously). It would seem then that if we meet the line (x) at infinity along direction (a) orthogonally, then change the angle of our pointing, surely we must now meet (x) at some angle other than 90 degrees? Yet this is not the case; we always meet it, in every direction, orthogonally to our pointing, and the line never curves to accommodate our limited thinking. It remains straight, and infinitely so.

    If you are on line (x) at infinity and wish to point in any direction other than along line (x), you must do so at 90 degrees to (x). All points not on line (x) are infinitely far away in the orthogonal direction, a direction shared across every point on line (x).

    Yet your intuition that the line (x) at infinity is a circle is, in a way, quite correct. In fact, the line (x) at infinity is an infinite circle whose center is everywhere.

    We cannot stop only at the line at infinity. Notice that there are infinitely many lines at infinity, each with their own unique directionality. Notice how any two lines that share a point define a plane. Notice how every line at infinity shares a single unique point with every other single line at infinity, and thus defines a single, unique plane at infinity? While it is possible “here” to have lines that are skew to each other and thus share no common point “here,” their respective points at infinity lie on a line at infinity, and this line is always a part of the same unique plane at infinity.

    Let this sink in. Just as there exists a single line at infinity for a given plane, that in some sense surrounds the plane and enfolds it within itself, so too there exists a single plane at infinity for a given volume, which surrounds that volume and enfolds it within itself. The line at infinity is the boundary of the two-dimensional plane; the plane at infinity is the boundary of the volume of three-dimensional space.

    From your position “here,” look in any direction. Follow this direction to infinity and you meet the unique, singular plane at infinity, and you meet it always and only orthogonally. Pascal gave no mere poetic turn of phrase when he said “Nature is an infinite sphere of which the center is everywhere and the circumference nowhere” — this is an exact imagination. Every place “here” is equidistant from the infinite plane at the periphery, and is thus equally the center as every other place “here.” The circumference of the infinite sphere is the plane at infinity, whose circumference is literally no-where; to be at infinity is to not have “a” place, to have no “here.” Infinity is an inversion of space, or perhaps its enfoldment within itself.

    Euclid illuminated the basic logic of relations between point, line, and plane “here,” but he could not encompass infinity with the same logic. Yet it is by logic that we ourselves can go deeper than Euclid, to see precisely and exactly what is required of us if we are to penetrate to the inner nature of infinity. Along the way we find that we must speak of the reality of directionality, orthogonality, and inversion as essential inner aspects of infinity.

    Follow the exact imaginative exercises presented here again and again until infinity saturates your consciousness; you will find that your phenomenological discoveries will forever recontextualize your relationship with what before was vague, confusing, and mysterious. The mystery, however, will only deepen.

  • The New Sacred Geometry of Frank Chester

    The New Sacred Geometry of Frank Chester

    This article was recently written for the Science to Sage International eMagazine. It introduces the work of Frank Chester, artist, sculptor, and geometrician, and explores how the special seven-sided volume with faces of equal area — the Chestahedron — relates to the traditional Platonic Solids.

    Download a high quality PDF here: The New Sacred Geometry of Frank Chester

    Or wait for the PDF to load below…

  • Contributing artist at New Forms Technology

    Contributing artist at New Forms Technology

    If you don’t know about the discovery of the Chestahedron, a volume with seven faces of equal area, you should check it out at New Forms Technology (shameless plug: I’m the webmaster).

    I have been experimenting with the form in its sculptural capacity, and have come up with some interesting designs that are featured on the site, which you can see here.

    Below are a few samples of my work, click for larger:

     

    Chestahedral Columns

    Chestahedral Rings

    Chestahedral Star

  • Goethean Studies Notebook

    Goethean Studies Notebook

    Goethean-Studies-1999-2000-Notes-by-Seth-MillerPDF: Goethean Studies Notebook (40mb)

    PDF: Higher quality, print version (180mb)

    This notebook was created as a personal record of the 1999-2000 Goethean Studies program at Rudolf Steiner College. This unique course, conceived of and taught primarily by Dennis Klocek, is still being offered — it is now called Consciousness Studies. When I took the course, which was seven months long and met for about three hours every weekday, I liked to call it “Being Human 101”, because it offered some basic perspectives about being human that spanned the spiritual, psychological, and physical worlds in a very deep and coherent way.

    There are certainly errors contained herein: it was often simply not possible to record more than the merest fragments of the vast pictures that awakened in the little Emerson classroom and flowed like honey across our minds. This record is like a six year old’s crayon rendition of a Michelangelo: it may contain something recognizable, but is no substitute for the real thing, which I encourage everyone to experience.

    It is likely that the only people who will see this document are those already familiar with the course in one of its various incarnations. For you I hope that it re-awakens a commitment and enthusiasm for the hard and necessary work of spiritual transformation by connecting you to the feeling you had sitting in the uncomfortably cold room on uncomfortable chairs, listening to another mind-blowing morning lecture by Dennis: the feeling that you were exactly where you needed to be and wouldn’t trade it for anything.

    For those who have not been able to take the course, this gives a tiny taste of some of the content that was presented in its 1999-2000 incarnation, and will hopefully inspire you to research the current, more highly refined and potent version.

    For those who have found this page but have no idea what I’m talking about even though you’ve read this far, just flip through it like it was you long-lost friend’s photo album and see what tickles your fancy as you skim on by.

  • A little presentation on the Golden Mean / Phi — for fun!!!

    A little presentation on the Golden Mean / Phi — for fun!!!

    A golden section is a geometric form constructed in a particular ratio of 1:1.618… (it’s an irrational number that goes on forever without repeating… I like the idea that the golden ratio is irrational).  Technically, the golden section is defined as the relation between two sections (a short and a long) on a line which divide the line in a homonic relation. The relation between the short and long section is the same as the relation between the long section and the whole line:  

     

    The simplest construction is a rectangle.  You are familiar with golden-ratio rectangles in the form of your credit cards:  

    Incidentally you can make your own golden section ratio device to discover how saturated the world is with these ratios or to follow along by using it with the images in this post.  It’s easy!  Just follow these instructions:

    Golden rectangles nest perfectly because of the ratio:  

    You also have a golden spiral which is embedded in the nesting rectangles:  

      

    This same spiral can be found with golden triangles too:  

    It’s known as a logarithmic spiral:  

    And it relates to the pentagon/pentagram:  

    The pentagram is built entirely of golden sections:  

    The logarithmic spiral is an extremely efficient shape for biological growth, and is thus found all over the natural world, specifically in biology:  

    But is also found in non-living things, like galaxies:  

    Closest to home, however, it is found over and over in the human body.  In fact, as far as I am aware, the human body has more golden ratios than any other biological organism:  

    Our good friend Leonardo concurs:  

    So does his pal Michelangelo:  

    But here’s something more to chew on:  

    If you start to MEASURE these ratios, you find that they have an interesting pattern:  

    The next number in the sequence that leads to the golden ratio ends up being equal to the sum of the previous two numbers:  

    This is called the Fibonacci sequence, after, um…  

    Yeah, that guy.  

    BONUS:  I bet he would have been able to figure out the following conundrum:  

      

  • Chaos theory and fractals – 5/4 (!?!)

    Chaos theory and fractals – 5/4 (!?!)

    A response to the question: “How is chaos theory non-determinant?”

    This is an interesting question, because I think it might normally be asked in the opposite way: “How is chaos theory DETERMINANT?”, because chaos theory is, well, chaotic, so it seems more logical to connect chaos with non-determinancy than with determinancy.

    So to explore the question that wasn’t really asked:
    The techniques which we have discovered that allow us to analyze systems that exhibit chaotic behavior are completely deterministic: they are mathematical in nature, having the feature of acting like an Ouroboros, where the output becomes the input in a recursive cycle.  We can start with even very very simple systems, and show how chaotic behavior results when the system evolves, when that system’s evolution takes place in ways describable by this type of recursive mathematics (not all systems are so describable).  Really the MATH isn’t the thing here, it’s rather the RECURSIVE PROCESS, RULE, or PROTOCOL that is important.  The math is just a really nice and clean way of expressing the essence of what happens when a system evolves by following a recursive rule.

    So chaos THEORY is determinant in that the rules which it utilizes to describe evolving systems have the potential to be calculated EXACTLY from iteration to iteration.  In other words, if we had a computer that could deal with an infinite number of digits we could theoretically pinpoint the next iteration describing the state of a system at the next moment with complete precision.  BUT, there are serious caveats to this when applied to anything beyond the purely mathematical formulations themselves.  REAL systems may be more or less calculable, more or less complex, and more or less willing to submit to the precision capable in theory.  The determinacy of chaos theory is therefore more like a theoretical determinacy, having a dubious ontological status.  I won’t get into the very crazy and amazing philosophical arguments that whirl around such things, to your immense relief.  Suffice it to say that THE WORLD IS MYSTERIOUS, and we have to be careful when dealing with the connection between our thinking and our observing.

    The ‘problem’ with chaos theory is that we can’t observe closely enough to know where to START our calculations, so we ALWAYS know that they are ‘wrong’ when dealing with the actual observable world.  This is that ‘sensitive dependence upon initial conditions’ thing again: there is no lower limit at which a difference does not potentially make a difference, even ALL the difference.  In other words, even the smallest possible change cannot be ignored.  The thing is that we can never know ahead of time when such a difference may be either influential or inconsequential – we have to let the system evolve in actuality in order to find out.  We can’t calculate the future states of the system (which are theoretically determined!) with much success because (depending upon the system’s complexity and initial state) as soon as we get a few iterations under our belts our calculations tend to diverge from other initial states that were infinitesimally close to the one we are actually calculating. So our results tend to be so far off from what we will later actually observe that we start calling the whole thing a theory of CHAOS, even though every step in the process is ‘determined’; hence “deterministic chaos”.  So even today a large bulk of weather predictions are based not off of complex theories of high pressure and low pressure zones, temperature gradients, moisture content, and such, but rather simply off of a comparison with past ACTUALITIES.  Predictions START with a comparison of the averages for a particular place for that same day in previous years, because this is often a better predictor than if we were to try and start with vastly incomplete current data.  The best predictions, of course, blend the two methods, but you’ll notice that nobody (okay, this isn’t true, but such people have completely different methods for prediction) is giving weather predictions much beyond a week or two at best.  This isn’t just a fault of our weather theory, but is a consequence of the RECURSIVE NATURE OF NATURE.

    So what is interesting is that our understandings from quantum physics put us in the strange position of having to admit that WE CAN NEVER HAVE PERFECT KNOWLEDGE of the state of any system – no matter how simple.  So we can’t even hold on to some ‘theoretical’ exactness that would be possible if only we had better instruments, or more complete observations.  THERE IS NO SUCH THING AS A COMPLETE OBSERVATION — at least in the sense of what had been the promise and holy grail of physics before the s**t hit the fan with relativity, quantum mechanics, Gödel, and chaos theory.  It turns out we live in a dirty universe, which is much more crazy and mysterious than we had imagined or hoped.

    Kevin Van Aelst, The Cantor Set (fried egg), 2004

    But what is key here is that chaos is not a result of linear progressions, but is more or less inherent (in systems with almost any level of complexity) when the Ouroboros steps in and finds its tail: recursion yields chaos.  I find this fascinating, because so many (all?) parts of the natural world utilize recursion as a technique — particularly in the living realm, but even in the purely mineral realm as well.  Whenever nature comes up with a new process it tends to repeat itself if the conditions allow it.  This repetition can easily become recursive, where some aspect of the process acts upon or is acted upon by some other aspect of the process.  When this happens you usually either get a complete breakdown or cessation of the process (a sort of suicide process, sometimes through growth), or you get emergent complexity, homeodynamic systems, self-regulating organization, and the basis for higher-level recursions.

    At the same time, every recursive process is — although perhaps potentially infinite — embedded in a contextual situation that provides limits and boundaries to the system’s evolution.  Sometimes it happens via a law of physics, sometimes as a consequence of mathematical relations in the context of physical laws (as in the increase in volume with the cube and the surface area with the square), and sometimes it’s just the seemingly contingent facts of context (it doesn’t rain that year, the food runs out, the salinity changes slightly, and so forth).  The point is that these contextual limitations are not usually a part of the chaotic models proper.  Rather, the chaotic models become themselves modified by through a corresponding synthetic analysis of contextual facts.  The Mandelbrot fractal is what it is because it does not have to evolve in the context of anything REAL; it is an ideal form through and through.  This is why we only find approximate fractals in nature, forms which approach the self-similar repetition of mathematical models.  But rather than say that nature’s forms approximate mathematical laws, maybe we should say that our mathematical laws approximate nature’s forms.  Maybe the laws we use to think about these forms are one of the ways that nature involves itself in a sort of grand recursion; the mathematical laws are like a high-level iteration of a process which at a lower level is much more messy and dynamic, but now has the benefit of taking place completely within the consciousness of a human being, thus allowing it to reach a new level of emergent complexity, i.e. the laws of emergent complexity themselves.

  • Chaos theory and fractals: 4/4

    Chaos theory and fractals: 4/4

    4. I don’t understand how the butterfly effect looks like the structures seen in the book…a butterfly looking pattern.

    The butterfly effect is just the name, slightly arbitrary, of the idea that complex systems exhibit the characteristic by which tiny tiny tiny (infintesimally tiny) changes in one part of the system have the potential (not always actualized) to transform THE ENTIRE system, on all its scales.  The Lorenz attractor kind of has the shape of a butterfly, and can be an image that is used to explain this sensitive dependence on initial conditions, but don’t worry about linking the Lorenz attractor specifically to ‘regular space’.

    Drawings like that are actually drawings in what is known as “phase space”, which is simply an N-dimensional space where each dimension is represented by a change in ONE variable.  The point of such diagrams is that they can incorporate simultaneous changes in many different variables at the same time (although visually there are limits on how to do this, because we are always projecting back into 2D space; holograms would help, but would only add 1 more spatial dimension in which to visualize, whereas there can be an INFINITE number of dimensions to map, depending on the phenomenon and how complex we get in our analysis).

    A dimension here is just the abstract space in which any single variable can be tracked, such as distance (up/down, left/right, forward/backward, yielding 3 dimensions that can be mapped in phase space), time (adding a 4th dimension in phase space), or anything else that we want to track, like ‘population number’ or ‘frequency/color’ or ‘subjective happiness rating’ or ‘distance from Antares’ or ‘fractal dimension’ or WHATEVER.

    If you wanted to plot two of those variables you could do it on a simple cartesian XY graph; this is a 2D phase space.  If you want to track three variable simultaneously, you need to add an extra axis, giving a 3D phase space.  But you can graph things in unique ways, for example by varying the color according to some rule that links the color with a variable, say temperature (you’ve all seen graphs and maps like this).  You can use more tricks to get more data in a phase space plot, but when it gets beyond 3 or 4 dimensions most scientists (and mathematicians especially) drop the visualization completely and just stick with the math — you get tables of numbers, each ‘row’ representing, for example, the state of the thing you are tracking, including all of its possible variables at that moment.  The next row would show the state at the next moment, and so forth.  Then you can just choose two or three of the possible N-dimensions and graph them against each other, and then take a new set, and so forth, until you see patterns.

    FROM WIKIPEDIA: BUTTERFLY EFFECT

    These figures show two segments of the three-dimensional evolution of two trajectories (one in blue, the other in yellow) for the same period of time in the Lorenz attractor starting at two initial points that differ only by 10−5 in the x-coordinate. Initially, the two trajectories seem coincident, as indicated by the small difference between the z coordinate of the blue and yellow trajectories, but for t > 23 the difference is as large as the value of the trajectory. The final position of the cones indicates that the two trajectories are no longer coincident at t=30.

    Cool java applet showing the same principles: http://to-campos.planetaclix.pt/fractal/lorenz_eng.html