Alex: when I talk of "God" I match the language pattern "God" with
a Catholic theology pattern that teaches "God" is a Being WHO is Three Beings In One WHO IS EXISTENCE
and I match this teaching with an awareness I have from newborn-infant days among other things.
Now: may I start to demonstrate why 'musical chairs theory' must work in mapping physics:
To have a distinct phenomenon or object requires a boundary.
So the ONE object requires two: one side of the boundary (or inside) and the other side (or outside). But how do you tell the difference between the one side and the other?
You must refer to a third means of comparison. Hence even the mathematical concept "1" requires 3. Yet "3" requires 1. So there is the "3-way jump theory".
You can draw an "A". Everything around the "A" (e.g. the white paper) is the stuff outside the boundary that allows you to have a distinct "A".
How do you know an "A" on paper from the surroundings?
From a difference in colour. Generally, how do you know a phenomenon from its surroundings?
Different position (one to the right, one to the left) or (one above, one below) or (one in front, one behind) or
different time (one at one time, one at another time) or
different dimension (one in one dimension, one in another dimension) or
different pattern-match (one matching one pattern, one matching another pattern) or
you know a phenomenon from its surroundings by reference to a pair of OPTIONS.
The object is distinguished from its surroundings by occupying one of the options (hence the 'musical chairs' aspect). Example: the "A" occupies the "black colour" option, the suroundings occupy the "white (paper)" option.
But it seems that you always need a second set of options: the black ink was written AFTER the white paper appeared (time: then, now options)
or the black ink is here (position), the white paper is there (around the black) (thus space-position option here, there).
will continue- computer malfunction....