The human brain is an organ that appears to use a single process to achieve consciousness. Basically, data structures are either in resonance together or not. That is the underlying process. The substrate is a matrix of interconnected neurons. No central guiding processor appears to exist.

In order for the complexity of consciousness to be explained by this single process, consciousness itself must be simplified to a single process.

My proposition is that all of consciousness can be derived from a single unifying principle. The linking of cause and effect. Where all causes are constructed from muscle scripts and all effects from both muscle and sensory scripts. But in all cases, they translate to fields of data fragments.

All of reality is understood in terms of a model consisting of the observer/observed; actor/acted upon; cause and effect. The action components of this dynamic are muscle scripts, the feedback components are sensory scripts.

The unifying processes are 1) the discovery of form and time from animating the human body - particularly the hands. 2) The re-scaling of reality to fit hand examination. 3) The sensory binding of the associated hand muscle scripts to the examined reality objects. Particularly the touch and vision sensory fields. 4) The process of metaphor being used to transfer 'sovereignty' from the actor to the acted upon. From the hand to what it is connected to.

When we animate a hand connected to a cup, the cup is a metaphor for the hand.

When the muscle scripts are bound into the sensory scripts, the sensory scripts can then extend the acting domain from the personal to the general. From your hand to a train or a bird.

When we see a moving truck, our brain can 'know' the truck by physically being the truck (muscle action). By sensing the truck (touch action) after re-scaling the truck to fit into a hand manipulating size which defines form and behavior (or space and time).

This may all sound a bit cryptic. I know it is not clearly explained yet. The work is still in its early stages. I am trying to explain how the foundation for all of consciousness can be constructed from a vocabulary of muscle scripts, which becomes the underlying glue binding our sensory scripts to create the perception of space and time from an observer/observed perspective. To thus link cause and effect in reality. Language and emotion are higher processes, themselves bound into these process structures.

The unifying neural process is one of binding cause and effect. Muscle to muscle, muscle to touch, muscle to vision etc. This is how the brain, operating upon a single computational paradigm, is able to extend the muscle and sensory flows into an integrated whole capable of discovering space and time, and of mapping reality in real time.

What this means is that everything we know is at heart a physical metaphor, and beneath that, a muscle script sequence. The persistence of cause and effect in the natural world is the training process the brain uses to bind together a model of space and time from these muscle and touch scripts. Reality is consistently true. That consistency sculptures our memories.

What is the difference between the conscious and unconscious

I suspect that our memories are what I call 'unpolarized'. That is, they are not seperated out into observer/observed. There is no observer perspective. These memories are unconscious. It is impossible to be conscious of a non-polarized scene, because the mind cannot conceptualise a 3d scene without a perspective. Any 3d scene has an infinite number of potential perspectives through space and time. The mind needs to resolve to one, before it can enter consciousness. However, once a scene is polarized. That is, a focal point of perception or animation, then the scene is capable of becoming conscious. The polarization point can change - as in a fly through, it can jump around even. But it must resolve to be conscious. A point or window, from where animation and perception can pass through. A point resolving muscle script trajectories between observer and observed. And between objects and scenes. When a mental scene is polarized, we have a series of muscle script bindings which extend time into the scene yielding predictable results. The muscle scripts interact with the objects tocreate artificial time, and somehow, cause visual bindings to follow.

The process of polarization is likely to be when the vocabulary of muscle and touch scripts bind into the 3d or 2d visual scene. Such that we subjectively experience the potential to engage with the scene through the selection of these familiar (predictable) script bindings.

The conscious thoughts become real world physical animation, when the mental script bindings engage (connect to) actual muscles. A physical organism must exist in a polarized reality. It must exist at a physical point in space and time. Although reality may be infinite, physical existence demands polarization. The mind must similarly polarize its simulation potentials to an observer perspective, to become conscious. At which point, physical animation can align to conscious animation. So long as the point of polarization keeps in step with reality.

The polarization of uconscious memories into conscious experience can also de-polarize back toward the unconscious. From a specific place and time in the conscious here and now, to an expansion of time and space within the less-polarized unconscious. But conscious action must finally polarize back to the focal point of 'here and now' within physical reality in order to successfully animate the body. Even though the muscle action may be based on a prediction of what the 'here and now' will be like when it is reached.

I still suspect that subjective visual imagery is largely a self deception. Fragmented visual memories almost certainly do exist, but we delude ourselves as to their accuracy and clarity. Real knowledge of objects, I believe, is through muscle script associations which bind in vision fragments.

We can be fairly certain of how something feels, and how we can physically interact with it, even while its precise physical appearance evades us.