As I sat reading Thomas Pynchon's latest novel, Against The Day this morning it occurred to me that I was experiencing two different worlds simultaneously. There was that world that I perceived through my bodily senses and there was a world I imagined through reading. Where do the images emanate from, and, where are they located? The characters and the drama, both those that emerge from my reading, and those that emerge from my sensing, are not produced simply at the interface of two conceptual codes. Conceptual codes are structural mechanisms that constrain imagination.

Four dimensional conceptual coding structures images into a family: Mother,Father, Son, Daughter. We can reduce the drama no further than these four players. The stucture of the play demands a difference in gender and a difference in generations. The structure of the play lies in relationships between these four players. The relationship in every situation is ambivalent; the structure is a tesegrity structure. The human story is the story of imagination in conflict. The conceptual coding is the source of the conflict, not the images.