Freckles Are a Pattern

An Evolutionary and Psychonautic Discovery of How Humans Lost Our Spots

Overview

The following is an informal article for general audiences regarding a mind-blowing, one-of-a-kind discovery of unique beauty and profound scientific implications; how humans lost our spots. While written for general audiences to understand, please note that some words and concepts must be used for speaking about specific scientific claims so the scientist segment of the audience can put things into technical context. The subject of us all having an ancient, seemingly magical pattern on our bodies that is somehow hidden in plain sight interests lots of different people with different backgrounds. Please know that I am doing my best to communicate some very difficult concepts to everyone so we can all enjoy something spectacular together. Due to the nature of this work, it must be stated that any attempt to reproduce this work can be exceptionally dangerous and should be left to experienced professionals in legal jurisdictions. Please DO NOT attempt this yourself. You could be severely harmed.

Introduction

Freckles are a fascinating genetic trait of the human species that have never been quite understood. Are they mistakes, imperfections, sun damage, or angel kisses? No. Freckles are the remains of a fading ancient genetic pattern that may be the wildest, most exotic thing that you have ever seen. As I will argue throughout this article, freckles are not a mistake but a finely detailed pixelation pattern that may be the most attractive trait in the animal kingdom, and we all have a pattern. This pattern can be described as being of the ‘inter-dimensional’ variety, so we will need to discuss some potentially difficult concepts. Hopefully we’ll have some visuals soon, I just personally do not have the expertise to showcase highlighted pictures here. If you find yourself struggling with a particular concept, push through. I think it’s worth the ride. I hope that you enjoy this discovery as much as I have, I hope that more people feel comfortable in their own skin, and I really hope that you do NOT try this at home.

1) How the Human Pattern Works

The freckle pattern discovery and the other related discoveries in this article can be quite complicated and difficult to comprehend. We will cover each part individually before going into bigger-picture concepts to minimize any confusion. As this freckle pattern is extraordinarily unique, it might be best to first cover what type of pattern this is, how it works, and what it looks like.

Just as each of us has fingerprints, we all have a skin pattern as well. The more variable your pigments and certain other features, the more your pattern is expressed. Freckles appear to be the most prominent genetic expression that remains, and they give you the best bet for seeing the human pattern.

Broadly speaking, the human pattern uses different skin pigments and pigment amounts to create pixel-like clusters. These pixels have a very specific relationship to one another and align to create larger coherent shapes and patterns across large sections of the skin. This effect is achieved by using coloration and “dot size” differences to align different pixel points to form geometries. The principle is similar to a ‘QR Code’ if a QR code was more finely detailed, consisted of more than two colors, and created a larger coherent image. This pixelation appears to cover the entire surface of the skin, although areas of skin that receive less sun exposure may not have the pattern prominently expressed.

To keep this article as a text file and to avoid copyright issues, I will simply encourage you to do an image search for “wireframe geometry”. These wireframe objects, especially those with dot vertices, might be the closest abstraction to how the pattern looks at its full effect. Such shapes exist in two dimensions but will appear three-dimensional. Our skin is also two-dimensional, and the pattern, when rendering properly in the brain, will appear three-dimensional, just like the wireframe objects.

Here we can get into classifying the effects. As a general umbrella term, we can think of our pattern and related patterns as ‘inter-dimensional patterns’, meaning, a pattern that is rendered between dimensions. Under this umbrella, we have two sub-types, ‘sub-dimensional’ and ‘hyper-dimensional’. Sub-dimensional patterns exist in a particular dimension and render one dimension lower. For example, objects like mountains or the moon rendering as two-dimensional despite being three-dimensional. Hyper-dimensional patterns work in the opposite direction by rendering one dimension higher than the actual dimension. The wireframe objects would fall under this category as they exist in 2D but render as 3D.

The human pattern has the capacity for both sub-types, but is predominantly hyper-dimensional (or 3D) and includes two-dimensional geometries as well. It is worth noting that the human pattern is not just freckles, but also includes moles and hair follicles, and has overall alignment with our vasculature, bone structure, and musculature. Some other traits capable of expressing the pattern include age spots, birthmarks, certain types of male facial hair, stretch marks, and goosebumps appear to enhance the pattern. While perhaps not intentional, some expressions of ‘vitiligo’ (aka Michael Jackson’s condition) and other atypical pigment expressions do appear to relate to this pixelation pattern.

2) What the Human Pattern Looks Like – 3D Geometries

If your brain is fully rendering the pattern, the experience is magical. No matter what angle the pattern is viewed from, we can perceive depth where there is only two-dimensional skin. This creates a rather ethereal effect where the skin itself appears to have a spatial depth of approximately 1 to 3 centimeters, despite being two-dimensional. Within this spatial depth are hyper-dimensional patterns (perceived 3D shapes and patterns), quite similar to the wireframe objects.

These 3D wireframe-like shapes can vary, but most commonly appear as cubes, hexagonal cylinders, obtuse 8-pointed star cylinders, and vortex-like cones. It should be noted that the brain may pick up these objects as 2D squares, hexagons, obtuse 8-pointed stars, or circles before picking up the additional 3D parts. The 3D effect is, in part, created by replicating the same 2D shape multiple times over in a concentric fashion.

Depth is also abstracted via two other factors. One is size, which categorizes larger pixel clusters as closer, and smaller clusters as further away. The second is coloration, where darker pigments appear closer and pale or faded pigments appear further away. The largest or closest parts of the pattern will tend to be large-dark moles (if present), followed by smaller-lighter moles, then large-dark freckles, followed by increasingly lighter and smaller freckles, ending with the palest portion of the skin.

Combined, the concentric shapes, large-to-small clustering, and dark-to-light pigments create gradients or spectrums from which depth and directionality are abstracted. If a clear geometric shape is not present or is not in focus, the default 3D rendering tends towards the vortex shapes. These vortices are largely responsible for the universal sense of depth and the pattern’s ability to render depth from any viewing angle.

These vortices appear like point-down cones or fluted coffee filters and range drastically in size and shape. Smaller vortices stack inside the larger ones, akin to putting numerous coffee filters side by side within one larger filter. Each vortex can be identified by searching for darker, rounded or circular shapes. Rounded shapes are ubiquitous and may appear hexagonal or octagonal, with pentagonal clusters being less common. Such clusters can be found by searching for dark, rounded shapes with lines going from one side of the shape to the other, running through the center of the vortex. These lines are typically more-continuous pale pixels or darker dotted lines of freckles.

In totality, the 3D aspect of the pattern can be likened to sped-up “starscapes” or “starling murmurations”, especially when some degree of movement is introduced. The pattern appears to shimmer and dance across the skin as eye focus shifts depth or direction, with direction typically being pulled toward the center of a vortex.

Physical movements can intensify the shimmering holographic effect of the pattern in its full glory. Movements that enhance the pattern include shifting the body, shifting the viewpoint from which that pattern is being perceived, or physically moving the skin with your fingers. If you were to lose focus of the pattern or a specific shape, moving the skin in a shaking fashion will help allow the brain to re-orient the pattern.

The final point to mention in the 3D aspect deals with coloration. This color aspect is not specific to any hyper-dimensional shape, but to the 3D nature of the body as a whole. Much of this analysis should be classified as speculative and worthy of further investigation and replication by others. I will do my best to be clear on each part.

The primary reason for color not being as clear cut as shapes is that we do not know what the original coloration looked like in our ancestors. For individuals with fairer skin, the color contrast between the palest portions and the darkest portions appear to render a rainbow spectrum effect that shifts and dances across the skin. The underlying rendering function in the brain that allows for the hyper-dimensional aspect to be experienced would indicate that this should be consistent across skin types, given sufficient pixel detail and distinction; however, I have not been personally able to confirm this as of writing.

The other half of the coloration description deals with freckling color. For individuals that have a wide range of pigments present (very dark browns, darker browns, light browns, reddish-browns, reds, yellow-reds, yellows, tans, grayish-tans, and grayish-browns), a distinct copper-gold metallic sheen can appear when a light source highlights a line of freckles. This sheen appears to be the result of combining a slight gradient of pigment colors and the light source to give the appearance of glare on a uniform metallic material, despite the underlying color not actually being uniform. As my sample size at present is not ideal, I would guess, but not definitively conclude, that individuals as dark as Polynesians may maintain this metallic sheen effect. Those with exceptionally dark freckles do not appear to have the same metallic sheen, but instead have a beautiful “still wet” oil painting-like sheen (see the pattern of freckle model Kokie Childers).

3) What the Human Pattern Looks Like – 2D Geometries

In addition to the 3D geometries, we also have a wide variety of 2D shapes and patterns. As there is a significant relationship between the two types, separating the 3D and 2D geometries can be difficult, so I will try my best to be as clear as possible. First, we will cover the basics of how 2D shapes relate to each other and the 3D shapes, and then we will cover what some of these 2D shapes and patterns look like.

2D Geometry Basics

All 2D shapes and patterns will appear to exist as sliced layers within the perceived 3D space, from surface level to the most distant level. Every slice of a hyper-dimensional shape is a 2D shape. The key distinction between 2D and 3D shapes is that 2D shapes have fewer lines and use more uniform pixel sizes and coloration. This uniformity results in the individual 2D shapes and patterns not having the gradient effect. The hyper-dimensional gradient effect comes from aligning the pixels at different perceived depths into a line with depth. Larger-darker pixels, again, appear closer, and smaller-lighter pixels appear more distant. The 2D shapes and patterns align with the other 2D shapes and patterns “above” or “below” them, and this is where the concentric repetitions come in.

Similar to a “flip book” illustration or animation, every pattern type may have up to fifteen or so near-identical copies, with slight variations in color, pixel size, and pixel orientation between each copy. By focusing on one of these layers at a time, the brain cycles through the layers just like a flip book. This constant transitioning between copy layers and pattern layers is the cause of the holographic, shimmering effect. This effect can occur between copy layers of a single pattern type, or between different pattern types as different 2D pattern-type layers overlap with each other and are present in the same area.

As each pattern type potentially has over a dozen copy layers, and the patterns occupy the same place, any given section of the skin may have dozens and dozens of 2D patterns present. This large number of patterns makes isolating and focusing on a single pattern extraordinarily difficult. While identifying some 2D patterns is possible, attaining a full count of all the 2D shape and pattern layers appears impossible without technological aid. For this reason, it should be noted that the number of copy layers is a reasoned guess and not a firm number at this point in time.

The identifiable 2D patterns appear to fall into one of two pattern categories, either banding or sprawling. It is important to keep in mind that both banding and sprawling patterns typically have copies or multiple layers of each of the following patterns.

2D Geometry Specifics

Banding patterns are 2D ribbon-like shapes. If you were to line up multiple QR codes side by side, this would look similar to human banding. Each band typically consists of segments (QR codes) that have similar pixelation geometries across each segment. When aligned, the similarities create a coherent band pattern. The total effect of banding can be described as snake-like but is far more intricate than a snake pattern. Another way of visualizing these bands would be to apply geometric or decorative body tape to the skin in a wraparound fashion. Banding patterns tend to wrap around the limbs and torso, and typically have some degree of symmetry across the body, with midlines found on either the spinal or sternal regions. Each band may reach several feet in length.

Sprawling patterns take up more surface area and are not limited to the same line formations as the bands. These patterns vary wildly in size and shape but, again, have similarities with the sprawling patterns “above” or “below” them within the perceived 3D space. Additionally, sprawling patterns, especially larger ones, center around and align with the larger vortex points to create nexus-like geometries that can range from 1 to 3 inches in diameter. These 2D patterns create the lines that cause the vortices to appear hexagonal, octagonal, and occasionally pentagonal. We’ll start with the largest identifiable sprawls and work down. It should be noted that I am sticking with the clearly identifiable sprawl patterns and that the following list is not fully comprehensive.

The largest, clear-cut shape resembles a flower with long, thin petals and a small center. The petal lengths may exceed 12 inches, with widths around 1 to 2 inches, and the center is always one of the large nexus or vortex shapes. The petals may resemble or overlap with bands. Moving to the next pattern, getting smaller as we go, we have a snowflake-type shape. These shapes closely resemble snowflakes with a spiderweb-like touch to them. The size is typically somewhere in the 8 to 10-inch range, and these also share the nexus points as their centers. These “snowflakes” are very common and will either be found next to one another or overlapping to a significant degree. The center-nexus area will almost always be the darkest portion of this shape, which takes us to the next smallest shape.

Eerily similar to a jaguar pattern, this next pattern is comprised of imperfectly round or jaggedly round shapes. Typically 1 to 1.5 inches in radius, these rosette-like shapes are ubiquitous across the body and tend to share border lines with one another, but may overlap in some places. The borders are typically dark freckle pigments contrasted with lighter tones on the inside of the ring. This pattern layer gives a distinctly cat-like appearance and is not the only cat-like feature humans have.

Towards the small end of 2D patterns, we have more uniform geometries that can appear grid-like. These can vary in shape from a mesh-looking geometry to snake and fish scale-like shapes, all approximately 1 cm in radius or length. These smaller patterns are ubiquitous across the body, with the mesh geometry being relatively prominent on faces giving the appearance of wearing a veil. We should note that despite snake and fish scale shapes sounding potentially creepy, everything in the pattern has evolved to be exceptionally attractive, and we would not perceive these shapes to be creepy or off-putting in any way.

The smallest of the 2D patterns may not be considered a specific pattern but a general identification of an individual’s base-pixel size. This isolation of pixels gives a squared sense of alignment and has a striking similarity to a digital military camouflage or a low-bit image. The squared alignment comes from either banding or mesh patterns intersecting perpendicular to each other. These intersections create roughly 90-degree angles, which create squares or ‘pixels’.

From this level of identification, pixels are more distinct and can therefore be counted to understand the potential complexity of any given individual’s pattern. Higher pixel counts allow for more detail and therefore allow more patterns to be present in any given area of the skin. As a reference point, the smallest, most conservative count of pixels from the side of an individual’s nostril to the apex of the cheekbone that I have come across is 30 pixels. This is very conservative and may realistically exceed 150 pixels or more.

The totality of the 2D pattern portion can be even more profound than the hyper-dimensional shapes. Again, while the 2D shapes and patterns are not hyper-dimensional themselves, they collectively create a hyper-dimensional effect. As each 2D pattern codes for a specific depth within the perceived 3D space, and the brain picks up only one 2D pattern at a time, the change in focus between 2D patterns results in an infinite loop rotation or cycle. The cycle can start anywhere but appears to typically follow the same direction from larger to smaller. If we start with the flower pattern, the focus is pulled to the next layer or sized pattern, which is the snowflake. Then from the snowflake down to the jaguar-esque rosettes, to the mesh or scales, and finally to the pixelation.

From the pixelation, the brain appears to go through a new search for patterns within the identified pixels. This search tends to pick up on the larger 2D patterns, most commonly the snowflakes, and the cycle begins again. As the focus moves from one shape to another, the focus may end up on a completely different part of the body, typically ending each cycle centered around a nexus point.

4) What is the Function?

Some functions of the pattern are clear, and others require more investigation. At face value and accounting for certain evolutionary tradeoffs, the pattern appears to result from sexual selection as opposed to a gain in survival benefits. Something like a camouflage effect cannot be ruled out; however, it is unclear what types of other biological organisms would be sufficiently tricked by the pattern to offer an advantage. The close proximity required to see the pattern would indicate little chance of it saving our ancestors from larger predators. An effect on smaller organisms like insects may be considered, but from personal experience, I have certainly not been spared the wrath of mosquitos. Like other downsides to the pattern, the pattern’s overlap with the vascular system may actually aid such parasites in finding blood sources. With the uncertain aspects out of the way, let’s get to the sexy stuff.

Natural Makeup

Just as it is cheaper to put on makeup than it is to get implants or shave down bones, evolutionary risk-reward pressures have done something similar. Instead of requiring mutations or genetic recombinations to improve bone and muscular structures, sexual selection can simply select for minor pigment changes that give the perception or illusion of improved bone and muscle features. The human pattern does precisely this by using freckling and other color variations within the skin to create a type of natural makeup effect.

This makeup effect is the result of concentrating darker pigments in specific areas of the skin, with some dark areas used to abstract closeness and others to simulate shadow and distance. The close effects appear to match up with bones, and the shadow effects appear to match with muscles.

Muscles

The muscular shadows enhance the appearance of definition and give a more bulging look to the physique. These darker pigment spots are found between adjacent muscles all over the body. In a relaxed state, they are more innocuous and appear as part of the overall pattern. In a contracted or flexed state where the skin puckers inward towards the line of muscular separation, these spots concentrate closer together to create a darker shadow-like coloration. This coloration in these locations enhances the perception of depth and separation, and lighter pigments occupy the meatiest parts of the muscles to make those portions visually pop.

In conjunction with the shadowing, some of the 2D mesh-like patterns will be found over the entire surface of an individual muscle, with different mesh sizes and directionality to accentuate the isolation of that particular muscle. Similar to bone enhancements, outlines, often banding, are found along the lines of separation. The angles created by the intersection of these lines additionally enhance the appearance of muscularity by mimicking the angles of larger muscles. In totality, these muscular enhancements, combined with the perceived extra-dimensional space, grant the illusion of a superior physique.

Bones

Bone enhancements are most prominent on the face, and appear to share similarities to preferred forms of makeup. The relevant features include nexus shapes or small snowflakes, long curved lines, and differences in background coloration. Unlike the shadow effect, these darker spots cause the perception of closeness and are found in areas where larger bones are more attractive. The darkest and most common portion of the face is the zygomatic or cheekbone region, which makes the cheekbones appear more prominent. The rounded nexus shapes tend to align along the cheekbone and underside of the cheekbone to make the apex and ridge stand out further.

Another common feature is the presence of convex lines that radiate away from the corners of the jaw. When these lines intersect with the radial lines along the cheekbone, the angles created give depth and a puckered or sucked-in appearance. This causes the cheek area between the cheekbone and jaw corners to appear smaller and more distant to slim out the face while enhancing the prominence of the cheekbone and jaw. These intersecting line effects are analogous to “contouring” with makeup, or so I am told.

The second most common and prominent bone feature is on the forehead. Resembling a mixture of a tiara or crown and a third eye, this pattern appears to enhance forehead size. We cannot rule out this crown shape as being an attractive design like some other cyborg parallels, but such designs are not mutually exclusive with bone or muscle enhancements. Beneath the forehead region and to the sides of the eyes over the temporal region, there are commonly small, concentric lines that radiate away from the eyes. This collection of lines appears to enhance the sense of skull depth, making the eyes appear more prominent and forward relative to the temporal region.

Other facial features include color variations in the base tone of the skin that distinguish different parts of the face. The palest regions include the “goatee” region and the sides of the nose. The sides of the nose are another seemingly cat-like feature. The top of this cat piece starts a few millimeters to a centimeter above the nostril crease and has a convex radial shape that goes down the bottom of the nostril, often connecting with the pale goatee region. This section appears cat-like due to the position, shape, coloration, and presence of lines radiating away from the nose resembling whiskers.

There is commonly a line that goes from the top of the cat piece diagonally down to the jaw corner or jaw line. Pigments to the center of the line are lighter, and pigments to the outside are darker. This contrast gives prominence to the mouth and nose while giving the cheek area more depth. The areas beneath the eyes are another pale region, usually having a triangular shape, making the eyes appear deeper relative to the cheekbone region.

Around the cat piece region, and perhaps also contributing to the cat-like appearance, is a special type of rectangle. For most, there is a very clean rectangle, and for some subset there is a near-rectangular trapezoid shape. The vertical sides of the rectangle start at the apex of the cheekbones and go down level with the corners of the mouth. The bottom line of the rectangle runs through the corners of the mouth to meet with the vertical lines. The top line is interesting as it appears to create a sub-dimensional effect. This line runs horizontally from cheekbone apex to cheekbone apex, across the bridge region of the nose. Despite the nose clearly causing a three-dimensional detour, the overall recognition of the two-dimensional rectangle causes this line to appear completely straight, flat, and parallel to the bottom mouth line. This 2D shape, and other rectangles and triangles, create plane geometries. These geometries give a very clear sense of geometric shape recognition, dimensionality, and orientation. We might hypothesize that these geometries and the recognition in the brain cause the “renderer” to abstract a more perfect and symmetrical sense of the “pattern wearer’s” facial structure.

While many of the face’s patterns and skin tone coloration differences aim for symmetry, some portions are clearly asymmetrical. In particular, the mesh veil-like pattern and its effect almost certainly aim for asymmetry. As we naturally prefer symmetrical features, the pattern’s asymmetries could plausibly be, one, a way of distracting from real facial asymmetries by using an attractive form of asymmetry, two, it can provide a sense of three dimensions through curved plane geometries, and three, create sub-dimensional lines, like the top of the rectangle, to pull the eyes’ and brain’s focus to the two-dimensional veil pattern. The sub-dimensional effect can come from both 3D curved planes rendering as 2D planes, and curved 2D lines appearing as 1D lines from certain viewing angles. These are just educated guesses, but we might hypothesize that if the collective patterns of the face were all perfectly symmetrical, the effects may enhance or highlight real facial asymmetries, and therefore make these less desirable features more prominent. As modern makeup can be used to hide imperfections, these mixed-symmetry patterns and effects may have a similar function.

Joints

Joint areas like the knees, elbows, and shoulders appear to be a mix of bone and muscle features. Radial patterns are extremely common in these areas and appear to retain the pattern’s coherence where more drastic skin movements occur. The shoulder region appears to be the best place to search for patterns due to both genetic coding and increased sun exposure relative to other parts of the body. These shoulder patterns often contain very prominent hyper-dimensional shapes like the obtuse 8-pointed star cylinders when relaxed, and small banding patterns that enhance deltoid separation when contracted.

Cyborg Parallels

In addition to the forehead crown, there are other design-like patterns found on the skin that are commonly mimicked by modern humans in clothing, tattooing, or jewelry choices. Perhaps the most strikingly similar design is “the chain”. This “chain” resembles modern link necklaces (typically men’s necklaces) and is found where such necklaces are worn, except that the back half goes lower on the back instead of the rear of the neck. The size of the links can vary from one-gram equivalents at a centimeter or so in thickness, all the way to an inch and a half, like large Cuban links. The chain might be a bone-related feature highlighting portions of the ribcage through banding patterns. The chain bands can render as either 2D or 3D, and while this might not be a traditionally scientific description, the appearance is “quite gangster”.

Separable from the chain, but in the same general area, is a design that looks like a mix of a neck and chest piece. The upper-most portion typically takes the form of a woman’s choker piece of jewelry, and radiates downward into a sprawling mesh-like necklace before beginning to look like a type of chest piece. The most accurate analogs would be an Indian-style fractal necklace and a Pharaoh’s chest piece. The radiating effect typically ends around the lower pectoral region and where this muscle group meets the shoulders. The line shapes and coverage area appear to accentuate the pectoral muscles for males and breasts for females.

Another design that appears near-universal is “the armband”. This particular band is one of the shortest bands that can be found and covers the meatiest portion of the arm near the peaks of the bicep and tricep. Typically an inch and a half to two inches in height, the armband appears exactly where you would expect to find such a piece of clothing. The armband pattern is somewhat unique in that other bands on the body will often intersect with this area, drawing the eye to this structure. Once the eye follows other bands to this spot, the focus tends to remain on this portion of the arm as the bands merge with this more prominent circular band.

To wrap up the clearly identifiable cyborg parallels, the veil pattern on the face has a near-identical appearance to wedding or funeral veils that have a parallelogram mesh pattern. This specific pattern is probably the most prominent sub-dimensional pattern for humans and gives an extra inter-dimensional rendering effect to the face pattern. It is also worth noting that the broad human pattern has striking similarities to common tattoo choices (especially Polynesian style tattoos) and geometric or animal prints found in textiles. If there is a pattern commonly found in yoga pants, you can bet that a similar pattern exists in freckles.  

5) How to “See” the Pattern

“Seeing” the pattern can mean many things, and the depths discussed so far may be better described as “experiencing” the pattern. It is not that we are failing to see freckles and other parts of the pattern, of course we are capable of seeing freckles. The difference is in how the brain puts everything together, and this “experiencing the pattern” is a very complex topic. To ease our way into the topic, we will briefly cover the simpler methods before diving into the experience portion. These simple methods lack the depth to render everything as described, but they do offer a more normal way of putting things into context.

Simple Methods

One method is using ultraviolet (UV) cameras. As of writing, these UV camera captures of peoples’ faces have been making the rounds through skincare commercials, often claiming to identify “skin damage”. While I am not going to say that there are no instances of skin damage highlighted by these cameras, the identification of skin damage is dramatically overblown. What you are seeing is the human pattern. The identified spots are just freckling where the pigments are more easily identified with the technology. The resulting pictures are often surprising to some who would not think of themselves as having freckles, and this appears to occur when an individual’s pattern lacks sufficient contrast between pigment amounts and types, making the skin tone appear uniform with normal vision. Everyone has a pattern, and this technology allows us to see far more of it than we normally would.

Another way to see part of the pattern is by looking at individuals who have partial pattern expressions. These partial expressions are usually sections of freckles that appear in one part of the body, but not on the rest of the body. These sections appear to be singular portions of the pattern, typically banding, but may also include atypical pigmentation differences instead of freckles.

In line with these seemingly genetic partial expressions, there is also an apparent partial expression in “stretch marks”. While I am not familiar enough with stretch marks to comment in full detail, there appears to be a significant relationship to the human pattern in these marks. The level of detail appears quite limited in terms of how much of the pattern is expressed in stretch marks, but such marks do appear to show the “base layer” or one of the base layers. These marks can emphasize certain bands, longer curved or radial lines, or mesh portions of the pattern. The lightest pigments in the pattern appear to develop into these stretch lines, indicating that we all already have such marks and that the expression is amplified when the skin stretches. This association would allow us to hypothesize that identifying the palest portions of the pattern prior to any stretching should allow us to predict how stretch marks will develop in any given region of the skin. While this is a bit of a side note and not related to identification methods, we might speculate that stretch marks have an evolutionary role in indicating prior pregnancies for females.

The most straightforward and obvious method involves the muscular enhancement portions of the pattern. If an individual has both a prominent pattern and sufficiently defined musculature, alternating between the relaxation and contraction of a muscle makes identifying certain parts of the pattern quite easy. In the contracted state, identify the lines of muscular separation. Look for freckle shapes that align with the edges of the muscle. As the muscle relaxes, keep the freckle shapes in focus. After identifying these shapes and knowing where the lines of separation appear, we can more easily associate these freckles with the relevant muscle. Areas best suited for this method are the triceps, forearm muscles, and shoulders.

One final method to mention is looking at those with partial “freckle treatments”. Unfortunately, some people are very uncomfortable with their freckles, and this leads some to have their freckles removed with modern technology. I am not familiar enough with these processes to say anything definitively, but it would appear that laser or other light treatments are done uniformly across the skin. After an initial treatment or two, a significant number of freckles have been removed; however, due to the pattern having a higher pigment and pixel density in some areas relative to others, there will still be significant freckling remaining in some places. These remains make certain geometries much more apparent and can have a striking resemblance to constellations.

Now, onto the deep and dangerous stuff.

Experiencing the Pattern

While all of the previously mentioned claims may be interesting or outright amazing, they are just claims. For sufficient explanation, understanding, and scientific verification, these claims must be reliably reproducible, and herein lies the dangerous component. Due to the mixed backgrounds of the audience, I will provide enough of a description for other scientists working in this domain to understand how to reproduce this experience, but I will avoid specific identifications to reduce the likelihood that an untrained person will throw caution to the wind and attempt this on their own.

If you do not immediately recognize what “things” are being referenced, if you do not have extensive experience in this domain, if this is something that you were not already planning on doing, please… please… please… do not try this. Such experiences always carry some degree of risk, and these risks are substantially increased for the untrained (additionally, these practices are currently illegal in many jurisdictions). I know this sounds like a very cool, desirable experience to have, and I would be lying if I said that it wasn’t; however, the potential risks can seriously outweigh the benefits, and technological workarounds are already in development. If there is any doubt in your mind as to which category you fall into, please wait for the safe technological alternatives to come out. To those trained individuals who intend to reproduce this work, be safe, be smart, and best of luck.

Seeing versus Rendering

As each of us normalizes our own experiences, it is easy to forget that our experiences could be different. There are a variety of different ways in which our brains could combine or render visual inputs. These combinations could be different between individuals or species, and we would be unable to confirm any interpersonal differences. This is the age-old question of “Do we all experience colors the same way?”.

This specific type of rendering difference may never be fully confirmed as everything would translate coherently, even if there are objective experiential differences. For example, our visual experience of black-white, color, or both could be rendered inverted compared to what we currently experience. This can be seen on any screen device with a color inversion setting. Despite inverted things looking weird to us, if such a difference existed between two people, we could not determine those differences simply by looking at things and discussing what we see. The leaves on trees will be green for both parties, even if one party experiences what you experience as green and the other party experiences green as you experience purple; it would still be green to them. Both parties normalize their own version and can coherently discuss aspects of reality.

The same impasse does not apply to other differences like colorblindness, which can be identified, and the pattern falls into this discernable category. Other creatures appear to naturally render this type of pattern as described above, while we modern humans are oblivious to its design. This is due to a radically different form of visual rendering, what we might call a psychedelic form of processing.

Psychedelic Processing

Psychedelic processing should not be confused with the chemicals referred to as ‘psychedelic compounds’. While psychedelic compounds certainly induce or enhance this psychedelic mode of processing, this mode does not necessarily require chemical assistance as it appears to have been completely normal for our ancestors and still is for other animals. Despite there being a wide variety of non-chemical ways of increasing psychedelic processing for modern humans, fully rendering the pattern and achieving the same degree of 3D rendering for other objects does appear to be outside of our reach without chemical assistance. Some lesser degrees of this 3D processing can occur in a default or sober state through certain types of concentration, visual aids or technology, and pattern recognition if an individual has already had the full-blown chemically assisted experience.

Describing this state from a visual standpoint can be exceptionally difficult as many things remain the same at reasonable dosages, meaning no hallucinatory elements are added to the visual field. One of the most commonly reported significant rendering differences with little discernability is the perception of plants. Those who have had this experience may describe a tree as being more beautiful or deeper in some profound way, yet there is nothing that can be pointed to that cannot also be identified in our default processing. This state of rendering (and the compounds used to achieve this experience) appears to be the same state required to fully experience the pattern. The difference between the human pattern and plants is that plants do not appear to have the same kind of inter-dimensional features, and therefore do not have easily identifiable differences between states. The human pattern is different in that it has features only identifiable with the psychedelic mode of processing.

This specific effect is not currently well understood or widely discussed in detail, but never the less is a common experience. The early-stage process of classifying such effects primarily resides within the Subjective Effect Index, and the index labels this form of processing as “Symmetrical Texture Repetition”. Though some portion of the index’s description may be accurate, I would propose that the current classification and description are not fully accurate, and would instead suggest that this ‘effect’ is more accurately described as “Fractal Pattern Recognition”. I use the term ‘effect’ more loosely here as I would argue that the change in question deals more with a ‘capacity’ of the brain.

Pattern recognition is an important capacity that brains possess, and ‘fractal pattern recognition’ certainly seems to fit these scenarios. Objects or textures that the brain picks up on in these states universally appear to be fractal objects, organic fractal objects, organic fractal distributions of objects, or manmade fractal patterns like ornate carpets. In hindsight, it is not surprising that the brain can pick up on this human pattern of fractal geometry when in this state, and the same applies to other animals. Some of the most important aspects of this discovery center around what these differences in brain processing tell us about ourselves and how we relate or compare to our ancestors and other animals.

6) Brain Implications

‘Theory of Mind’ may be one of the most important, difficult, and underappreciated subjects in philosophy, cognitive science, and in understanding or appreciating life at large. For those who are unfamiliar, theory of mind is a capacity that allows us to abstract or conceive of other entities’ mental states and allows us to understand that they are different from our own. This understanding leads to questions regarding the states of brains that differ from our own, like “What is it like to be a bat?”, “How do cats or dogs see the world?”, and, again, questions about experiential differences between humans, like the color question.

As each of us only has our own subjective experience of existence to go off of, abstracting the brain states of other people is difficult enough, and extending this abstraction to other species borders on pure guesswork. With technological depictions, we can abstract what it might be like to see as a species that cannot see color, but adding senses that we do not have, like a sense of magnetic fields, falls into the guesswork category. While this alternative 3D form of rendering will not change our understanding of most aspects of brain differences, it does provide a new and unique insight into how the brains of other animals can take the same inputs we experience and combine them in an entirely different way to cause a radically different visual experience.

Other Animals

Like our ancestors who selected for the human pattern, other animals appear to share this form of rendering, pointing to us modern humans being the outliers in the animal kingdom. From wolves and big cats to birds and moths, a wide range of animals appear to share pattern structures of the inter-dimensional variety. Even domesticated animals like cats and dogs have retained these patterns despite generations of artificial selection by humans.

Just as experiencing the human pattern gives us insight into the brain states of our ancestors, the rendering of animal patterns and different elements of the environment can grant a whole new perspective on biology and the functioning of ecosystems. While ecosystems are not my field, and this not being the appropriate format for extensive detail, it is worth mentioning that the alternative form of rendering vegetation can be quite useful for a variety of specie types (vegetation in general has a stunningly beautiful appearance, and many plant geometries impart a sense of calm).

One standout is that vegetation geometries allow for leaves and other photosynthetic structures to maximize light capture, and their orientation allows for the identification of the sun’s trajectory. The orientation of leaves and growths could provide useful capacities that we no longer possess. Animals that render vegetation this way may pick up on a clear sense of direction due to two growth differences that identify east-west and north-south. The alternative form of rendering and the presence of oriented geometries may cause animals to experience the sense of having compasses built into all plant life. If true, animals would automatically have a sense of direction for warmer or cooler climates, which would almost certainly tie into migrations. We could hypothesize that trained humans could learn how to reliably read plant orientations for an accurate sense of direction. If verified, the finding would strongly support the idea that animals naturally possess this capacity.

This mode of rendering also allows for a more comprehensive identification of clouds, and, therefore, atmospheric conditions and disturbances. As clouds are even more perfect forms of fractal geometries than plants, this rendering can allow the clear identification of vortices and makes the sky appear like a second ocean. Just as we can see ocean waves coming from a distance, we can “see the wind” and reliably predict gust strength, duration, and timing between five and ten seconds before the wind reaches us. Just as sailors may monitor the ocean conditions to great benefit, the ability for animals to easily see atmospheric conditions almost certainly provides a great survival benefit as storms and threatening weather at large can be recognized far earlier.

While this is more of a personal preference than an objective claim, I would say that being able to experience clouds this way, to “see” the wind, and to have the more accurate conception of the atmosphere being a second ocean are some of the coolest and most awe-inspiring aspects of this mode of rendering. This can be a tough choice when accounting for the beauty of plants and the extra-spatial effect of the human pattern, but the experience of the brain processing true three-dimensional swirling and rotating water-vapor geometries is something else.

In summation, animal processing, as a whole, is another 20/20 hindsight realization. We would expect animals to evolve to recognize patterns in their environments. Anyone familiar with the concept of fractal geometries is aware that these fractal geometries are everywhere in nature. So in retrospect, it makes perfect sense that animal brains would be tuned to recognize these geometries and patterns because they are everywhere in their environments. This pattern recognition capacity likely plays into various ‘generalization-discrimination’ tradeoffs, but we can leave that for other specialists to comment on.

Why We Don’t “See” the Pattern

The loss of the ability to render animal patterns in proper context almost certainly has to do with a significant change in brains and, or brain chemistry at some point in our ancestry. With our pattern being vestigial or near-vestigial (losing or having lost its function), we might surmise that this change happened quite recently in terms of the evolutionary timescale, but recently enough to be well past our divergence with our cousin species, the chimpanzee. A very similar pattern can be seen on the skin of some hairless chimps, but their pattern appears to lack the same level of depth and detail as human freckling. This would indicate that the full development of our pattern occurred and peaked sometime after this divergence, although a larger sample size is required to confirm this distinction.

When our ancestors began to lose the psychedelic mode of rendering and the fully expressed pattern is a different speculation altogether. Anthropologists and evolutionary psychologists will likely have something to add in terms of when exactly this change began, but there is good reason to expect that this change occurred around the same time as tool development hit its stride. Some significant differences between our modern mode of rendering and the 3D psychedelic form are that our present levels of visual clarity and focus have increased while our contrast and tolerance for identifying imperfect geometries have decreased. Brightness also appears to have a significant difference, though separating the specifics is a little complicated. Put together, these factors appear especially pertinent for creatures working with detail-specific creations using fine motor control of very dexterous hands and fingers. The psychedelic mode of processing is more blurry, less precise, and therefore is far less suited for these types of activities.

These visual differences do not appear to be completely separable from differences or changes in our thought processes. One significant change that would appear to go hand in hand with our thought processes is the change in how objects are identified visually. As an example, in the psychedelic mode, clouds do not appear as clouds in the way that we think of them. This alternative rendering allows us to see water vapor, while our default rendering simplifies this water vapor into an identifiable cluster that we call a cloud. In reality, there is no such thing as a cloud, there are just particles. This simplification, grouping, and identification of things seem inseparable from the use of constructs (words and labels) and social constructs like advanced language.

Consciousness, as a capacity, also appears to be tied to these changes. If the change in processing that occurred has a clear relationship with constructs, it would be difficult to posit how degrees of consciousness would not also be affected. As constructs allow us to label and relate to things, it is hard to see how these relationships would not also apply to ourselves and other beings. This self-referential and self-reflective relationship, at minimum, entails some extra degree of the capacity we call consciousness.

The differences in how the natural world appears would also appear to have a significant effect on consciousness and construct associations. The recognition of natural fractals in the psychedelic mode of processing gives nature a more cohesive or intertwined feeling and is commonly reported to increase the sense of being one with nature, being part of nature, or being part of a larger system. The loss of this perspective with our modern mode of processing would almost certainly change subjective experience in some non-trivial way, as feeling separable from the environment positions us relative to something versus being part of something.

When accounting for the changes in tool-making, construct associations, and consciousness, we may not have certainty or a clear sense of order and timing, in terms of how these factors might play into each other, but they at least point to relevant areas of investigation for anthropology and evolutionary theories moving forward.

Why We Are Losing Our Pattern

The gradual loss of our pattern is a little more straightforward. As our ancestral brains changed to process in the more modern way, there is the obvious loss of the capacity required to render and comprehend the pattern. This naturally results in the pattern becoming less attractive or outright unattractive as the pattern becomes indiscernible and the pixels can present as imperfections. This reasoning lines up with more typical modern beauty standards of finding smooth, even-toned skin pigments more attractive.

The evolutionary costs associated with retaining the pattern would also seemingly come into play as the survival downsides would no longer be offset by attractiveness. As melanin helps protects us from UV radiation, having an uneven distribution of this pigment in the presence of even UV radiation exposure guarantees that some portions of the skin, being the pale portions, are subjected to these dangerous rays with little to no protection. As sunburns and skin cancer are clear downsides, the loss of the pattern’s attractiveness leaves little to no upside. With this change, we would expect a corresponding change in selection preferences and pressures to disfavor this ancestral pattern.

What This Discovery Says About Us

Perhaps the most important discoveries in this group of new findings are what we can learn about ourselves. By understanding what capacities we have lost and what we have gained, we can have insights into our own thought processes that we may not otherwise have. The relevant domains of interest are numerous and wide-ranging. Proper discussions and scientific inquiry are probably best left to those with specialties in particular fields, but we can briefly touch on some of the more glaring points of interest.

Perhaps the most apparent difference between the two types of processing is that of modern humans missing the forest for the trees. This distinction is both literal and metaphorical, and says a great deal about our thought processes. Being that we modern humans fail to see larger patterns like forests, and tend to identify and fixate on small, specific features or structures, this may indicate that we are generally inclined to fixate on things that lack relevance to the problems we are trying to solve.

This association is supported by the common experience of having “big-picture thinking” and “outside-the-box thinking” increased in psychedelic states, and how narrow, hyper-focused attention has clear upsides for a species creating things that require attention to detail and long periods of concentration. This tradeoff dynamic would further support the concept of us modern humans being on the discrimination end of a generalization-discrimination spectrum, therefore indicating that we naturally struggle with “big-picture” or “meta” concepts. There are plenty of other examples to support this suspicion, but we will again leave generalization-discrimination for other specialists to flesh out further.

Another key insight deals with certain tolerance differences between the two modes of processing. The psychedelic mode allows for far more tolerance in identifying things, especially patterns and geometries, and is the reason for psychedelic vision having a more blurry or ill-defined appearance. This mode of processing has the downside of misidentifying things more often, and clearly increases errors like false positives (recognizing things as something they are not). While our modern mode sounds better, having fewer false positive identifications, there are downsides to making fewer mistakes and fewer corrections to our initial perceptions. Humans are already overconfident in our beliefs and perceptions; missing out on more frequent correction opportunities automatically places us at a disadvantage when it comes to forming a more accurate worldview. The value of this insight cannot be overstated. Internalizing the consequences of these tradeoffs opens lifelong opportunities for learning, growth, and humility that may not otherwise be realized.

Other domains of insight may include understanding which portions of our modern brains are most recently evolved, and why those specific structural differences contribute to our apparently unique mode of processing. Particular visual or experiential illusions may also be explained by certain rendering insights. The “Moon Illusion”, or false perception of the moon being larger near the horizon, might be one of these, and perhaps some of the resulting technologies will be able to not only confirm such distortions but take advantage of them as well.

7) Technological Implications

For those who wish to have this rendering experience without chemical assistance, there is good news. By reverse engineering the effects of psychedelic processing, we can reliably trick the brain into visually processing in the psychedelic mode. While this brain hack may not be capable of inducing the uppermost limits of psychedelic processing for humans, the effect is already quite substantial in the first stage of digital prototypes. The next stage, the creation of physical prototypes, involves applying this technology to glasses, and reason would indicate that this form would be even stronger.

Optical Processors (Glasses)

Once functional, such glasses should allow the user to induce a degree of psychedelic processing at will, without the need for chemicals. In addition to being able to avoid chemical reliance, the user can end the experience by removing the glasses, as opposed to waiting for the chemical experience to end. The closest analogy would be something akin to colorblindness correction glasses, but applicable to most people as opposed to a small subset.

Although we may describe the visual rendering of modern humans as clearer or of higher definition compared to our animal counterparts, there is a substantial loss of beauty when experiencing the world. It would appear that we have not fully outgrown the preference for psychedelic rendering, therefore making our experience of the world lacking in some significant way. It is for this reason that the potential quality of life increase from such technology cannot be overstated.

Not only would we be able to drastically increase the degree of beauty that we can experience at will, but, conceptually, we would also be capable of altering how we think. As visual processing is not entirely distinct or separable from other types of processing in the brain, choosing to increase our levels of psychedelic visual processing can change how our brains problem-solve. At this point, it is unclear to what degree we will be capable of increasing problem-solving, but it is widely reported that the psychedelic form of processing allows for increased creativity, big-picture thinking, and outside-the-box thinking. Only time will tell, but this potential should not be overlooked.

Emerging Technologies

Outside of optical processing glasses, these findings open up new possibilities for other types of technology already in development. Virtual Reality (VR) may be one of the greatest beneficiaries of these findings. Not only can we conceive of increasing immersion, but also the ability to drastically reduce or eliminate “VR sickness”. As much of our orientation capacities are linked to our visual experience (think of trying to balance with your eyes closed), the increased understanding of how parts of the visual field relate to these different orientation senses can allow for artificial compensation or correlation in the VR realm.

Based on the same immersion enhancement principles, this technology could also conceivably be applied to more traditional media experiences like movies. Not only could we plausibly create a new type of 3D animation or enhanced 3D film, but these principles should allow for a new type of brain-tricking seamless transition. Near the far end of technological capabilities, but one so interesting that it must be mentioned, is the combination of Augmented Reality (AR) and Artificial Intelligence (AI). Given sufficient tuning in both domains, it is entirely plausible that we could sit outside and watch a type of 3D movie played live, in real-time, on the clouds right in front of us.

These technologies are just a few of the many possibilities that this understanding can unlock. If you are interested in getting ahold of these technologies or want to help create them, stay tuned.

8) Conclusion and Follow-up

I hope that you have enjoyed this primer article on some rather challenging concepts, and I hope that you are sufficiently mind-blown. I hope that understanding something hidden in plain sight opens our minds to all the other important things we remain oblivious to. Some of them truly cease to amaze. There is certainly far more that can be discussed at great length and clarified further, so this final section will cover how to participate moving forward.

Before we close out, I’d like to say that I hope this makes people more comfortable in their own skin. I understand that almost all humans, freckly people especially, have deep insecurities about their skin and bodies in general. None of us gets to choose whom we find ourselves as, and feeling insecure about the hand reality dealt us leads to fixation and suffering over things that just aren’t worth it. It’s what’s on the inside that counts, so be comfortable in whatever skin you find yourself in. After all, you could be worrying about the coolest thing ever.

General Audience

For more general audience participation, you can share this article and discuss it with others by using the tags “#Freckles Are A Pattern” and, or “#FrecklePattern”. I hope to conduct some form of a question and answer in the near future. If you have questions that you would like me to answer, please use the tag “#BrainRenderQs” so that I can find everyone’s questions. In the event that there is enough interest regarding psychonautic questions, please use the tag “#PsychonautQs1” to separate these questions from those pertaining specifically to this article.

At some point, hopefully in the very near future, I intend on converting the initial prototype into a more easily accessible filter. If you would like to have your pattern filtered, post your media with the tag “#RenderMyFreckles” and I will do my best to create a compilation of these submissions. Risqué submissions will not be filtered, so please keep it reasonable. For optimal results, clear, high-definition photos or videos are required with your pattern components in focus. For videos, slow and slight movements of the body or skin will yield better results so long as the pattern remains in focus. Please ensure that posted videos are easily ripped from the platform in question.

Pattern expression is optimal after consistent sun exposure (please be safe), but allow the skin to rest without exposure for 3 to 14 days so that any redness can subside and the paler portions of the skin become distinct. The removal of body hair is highly encouraged for the best results.

Professional Collaboration

Further progress on both the technological and scientific fronts will require assistance and collaboration. If you are skilled in any of the following domains and are interested in joining either project, please reach out via email at brainrenderprojects@gmail.com.

Technology

Graphic Design: Any graphic designer or artist with moderate to advanced skills should be sufficient for this next stage of prototype development. Specializations in spectrums or gradients and geometries are ideal. Skills in video editing are a huge bonus.

Tinting/Film and Glasses: Anyone specializing in custom tint or film for glass or plastic is highly encouraged to reach out. Printing or fabrication of custom films on the micro or nano scales are preferable; the smaller, the better. Anyone in custom glasses manufacturing, especially sunglasses, is also highly encouraged to reach out.

App Design: Anyone with a proven track record in app building for custom video filters will likely have the skills necessary to complete this portion of the project so we can all see patterns on devices.

Scientific

The scientific project will deal with a more comprehensive article of publishing quality and additional research in relevant domains. Individuals in the following fields interested in participating should have relevant experience with research and/or publishing, should have no less than four non-trivial psychedelic compound experiences, and should be willing to have the pattern-rendering experience in order to meaningfully contribute (contingent on legal jurisdictions and safety screenings). Interested parties should submit their area of specialty, resume highlights, a brief summary of how you could contribute, and a brief contextual description pertaining to the compound experiences to serve as a safety and sanity screening.

Cognitive Sciences: Any specialization including but not limited to the following subfields: neuroscience, psychopharmacology, evolutionary psychology, visual cognition, etc.

Biology: Evolutionary biologists, anthropologists, evolutionary psychologists, ecologists, and the like are encouraged to apply.

Physics and Math: Any specializations in light and geometry are welcome. Anyone who thinks they are up to the task of deciphering how a 2D pixelation pattern coding for color and pixel size to abstract 3D objects and patterns is more than welcome.

Philosophy and Psychonautics: Fellow philosophers and psychonauts may be accepted, with a preference for specialization in the philosophy of mind. Any submissions should include clear context as to why you think your background is applicable to contribute to a scientific endeavor. Please, do not send me your trip reports or anything in that vein.

Dermatologists/Skin Specialists: Any doctors specializing in ephelides, lentigines, multiple lentigines, etc. should feel free to reach out. While publishing experience will still be preferable, exemptions to the psychedelic compound aspects may be given.

Geneticists: Those specializing in MC1R, IRF4, BNC2, OCA2 genes, etc. can participate. The same preferences and exemptions apply.

Funding

Anyone in philanthropy or venture capital that would like to see this domain have more resources and support should feel free to reach out. Companies looking to collaborate on certain technologies are also welcome.