Aristotelian Catharsis and S4 physics

The following ideas are protected by Uniform Trade Secrets Act of 1985 for commercial use only by S4 Group.

This is sketchy but consistent both with S4 mathematical physics and my spiritual experiences with an open third eye (which allows 4-dimensional sight).

PHYSICS ASSUMPTIONS

1. Electromagnetism with SU(2) symmetry in a 4-dimensional spherical universe
2. Two poles of a purely electromagnetic dimension, dark and light
3. Magnetic monopoles are not only abundant but constitute our living spirit bodies
4. Human spirit bodies, as well as the Universal spirit body has a heart, a mind.
5. Human spirit bodies have at least seven chakras and the heart is the central chakra.
6. Emotional experiences take place via electromagnetic experiences with the heart chakra and external entities.

ARISTOTLE'S POETICS OF CATHARSIS

Here is a distillation of the concept by Amelie Rorty.

The classical notion of catharsis combines several ideas: it is a medical term, referring to a therapeutic cleansing or purgation; it is a religious term, referring to a purification achieved by the formal and the ritualized, bounded expression of powerful and often dangerous emotions; it is a cognitive term, referring to an intellectual resolution or clarification that involves emotions to their appropriate intentional objects. All three catharsis are meant, at their best, to conduce to the proper functioning of the soul. The psychological catharsis of the audience takes place through, and because of the catharsis of the dramatic action.

The electromagnetic mechanism of catharsis is an interesting question for me, since all emotional changes reconfigure electromagnetic content of the spirit body.

The first possibility is that the audience absorbs directly the emotional energy emanated by the actors on the stage via their heart chakra while they are acting out the deeds and using their voices to emanate emotional energy.

The second possibility, not exclusive of the first, is that the audience evoke emotions internally from their own spirits to react to the performance on stage.

Leaving aside the specific issues of pity and fear, more generally, the effect of an individual audience member may be a reconfiguration of the spirit body such that it is more magnetically coherent after the experience than before. This is quantitatively measurable in principle, and perhaps such effects are simpler to measure in music concerts than in a tragedy.

But catharsis in a tragedy is more interesting for the specific claims of catharsis, for here there need be no musical instrument, simply the plot, the prose, the emotional performances of the the actor.