The Watercolor-Origami Universe

The Universe seems to me to be a watercolor done on paper which is then folded into an origami object. The folds are structure and time. 

The watercolor (or, watercolour, if you prefer) is the material universe, the origami process is the "process" of Alfred North Whitehead: it is the "Story".

This is an amalgam of what we used to call Materialism and Idealism.

Time does not exist other than as the folds in the origami object, each fold creating a new facet or aspect of the entity involved, just as each moment of time is a newer and older "me".

How do I create "story" within such a universe?

I am a part of the painting, and the moisture of the watercolor wets the amorphous fibers of the paper. Then, as the watercolor dries, the fibers dry out and contract, causing stresses to align fibers in various ways and making lines of contraction where the paper creases.

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Origami Universe?

How do we get from the amorphous and chaotic Paper Universe to something that remotely resembles our own with its almost-lawlike structure... at least almost-lawlike to our present way of thinking?
Possibly think of Origami: paper folded - not cut - into crisp and definite discrete forms. The paper remains chaotic (amorphous pressed and dried pulp), but the work of art is well-defined.

Possibly interesting.

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Needlework and Watercolour

Plant-fiber Paper made from Milkweed Pods

A world of law, a morality based on laws and commandments, reminds me of an needlework embroidery mesh which provides the regular framework upon which we may create great beauty. Our actions are the yarn and knots that tie our lives to the semi-rigid structure of the screen of the mesh.

The regularity of the mesh reminds me of the logic and the dogmatic structures we create to try and give form to our understanding of the universe. And embroideries are things of great beauty of the textile arts.

However, I think that reality is more like watercolor paper: a pulp of chewed up wood and cellulose that is somewhat stringy and fibrous, dried and pressed to create a sheet of paper. There is no regularity in the paper: it is amorphous with fibers and cellulose; if you pick at it, there is no telling where one ends and another begins. When paint is applied, it may suffuse through the fibers, spreading from one area to another.
Yet even upon this amorphous and chaos of fibers, we can create things of the greatest beauty, where our actions are the paint applied to the surface - not a rigidly defined focus of application, like one knot stretched between two openings of the mesh, but a watery spreading of color.

I think reality - and in particular, my view of Mankind's Agency in the World - is like the paper: you cannot tell where one part of the paper universe ends and another begins; all the fibers interweave and overlay, and, as things are done, the pigments and colors spread and interpenetrate everything.

In the Paper Universe, you cannot pick things apart; you cannot tell where God ends and man begins. In the Embroidery Universe, everything has its own place; they may be close to each other, but they are separate.
This does not imply anything like "God is in me, and we are all in God". I do not really see that as a logical conclusion. But I do see a conclusion in "We cannot tell where one thing ends and another begins... our understanding cannot break apart the layers and twists of fibers intermixed."

By this preparatory metaphor, I hope to understand the role of Virtue - which is more like Paper - and the present day predominant idea of morality - which is more like the rigid mesh.

 Needlework Mesh

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