Actualism

For every fiction that exists, there exists an absolute infinite multiplicity of cosmologies, of the real world, of mythologies, of religions, of rumors, of legends, of philosophies, of laws, of constants, of forces, of constants, of forms, of truths, of axioms, of attributes, of principles, of values, of an indescribable amount of transcendence, of descriptions, of names, terms, and essence. For every fiction, there exists metaphysics. For every fiction, there exists pataphysics. There is a hierarchy of modes and attributes for each fiction.

For every fiction that exists, they possesses an absolute boundless multiplicity of layers, where the layers extend eternally transcendentally boundlessly in all directions, of which there is an absolute boundless multiplicity number of sublayers in each layer, and higher dimensions and layers have a definite qualitative superiority over lower dimensions and layers.

(in-between) is what exists outside of each layer of fiction. (in-between) is what is next to each fiction, nonfiction, and furthermore. It is the gap between fiction that separates them.

(in-between) simply negates all quantities, meaning, theories, or any other "be-ness" that claims to surpass some sort of theory, quantity, meaning, or any other "be-ness", regardless of anything in their description to neutralize this. This includes this essence itself, anything that claims to surpass the essence of (in-between).

• (in-between) disregards any logic of reason or absurdity that may hinder its boundlessness or classification with maximum strength.
• (In-between) supersedes the transcendence of all things, and all descriptions of "things", and all descriptions of "surpasses", and all descriptions of "definitions", as there is also a smaller quantity than (in-between) that completely surpasses it as well.
• (In-between) is beyond the necessity of having no relation to anything including itself.

1) The world we see or experience around us is a world that our own mind constructs.

2) Phenomena is always a part of the world as we perceive it.

3) The world we observe around us might not be the way the world really is in itself.

Fiction

Fiction is literature created from the imagination, not presented as fact, though it may be based on a true story or situation. Types of literature in the fiction genre include the novel, short story, and novella.

• Fiction is a design that misrepresents how the world actually is, although not in order to deceive intended readers. This opposes it to non-fiction; even if a design of non-fiction misrepresents the world, it is not intended by its author to be recognized as something that misrepresents the world.

Fiction is a broad and multifaceted concept that encompasses various forms of storytelling, imaginative narratives, and creative expressions. It refers to works of literature, film, theater, and other artistic mediums that present imagined or invented events, characters, and settings. Fictional works are distinct from non-fiction, which aims to present factual information about the real world.

At its core, fiction is a means of communicating and exploring experiences, emotions, and ideas through the creation of narratives that may be partially or entirely detached from reality. It allows us to step into different perspectives, worlds, and possibilities, inviting us to engage with imaginative constructs and suspend our disbelief.

Nonfiction

Nonfiction is any document or media content that presents only truth and accuracy regarding information, events, or people. Nonfictional content may be presented either objectively or subjectively. Sometimes taking the form of a story, nonfiction is one of the fundamental divisions of narrative writing (specifically, prose) — in contrast to fiction, which offers information, events, or characters expected to be partly or largely imaginary, or else leaves open if and how the work refers to reality.

• The phenomenal world is the world we are aware of; this is the world we construct out of the sensations that are present in our consciousness. It is the world that we perceive. 
• The noumenal world consists of things we seem compelled to believe in, but which we can never know (because we lack sense-evidence of it).  It is the world of things outside us, the world of things as they really are, the world of trees, dogs, cars, houses, and fluff that are really real. 

Nonfiction refers to literary works, narratives, or media content that presents factual information and real events, as opposed to fictional or imagined elements. It is the counterpart to fiction and is characterized by its commitment to truth, accuracy, and the representation of the real world.

Here are some key aspects and characteristics of nonfiction:

1. Factual Information: Nonfiction works are grounded in reality and aim to convey information that is based on real events, experiences, and knowledge. They present facts, data, research, and evidence to inform, educate, or explore a particular subject matter.
2. Documentation and Research: Nonfiction often involves rigorous research and investigation. Authors and creators draw upon primary and secondary sources, interviews, historical records, scientific studies, and other reliable information to support their claims and provide a well-informed perspective on the topic at hand.
3. Types and Formats: Nonfiction encompasses a wide range of genres, formats, and mediums. It includes biographies, autobiographies, memoirs, essays, historical accounts, scientific publications, textbooks, news articles, documentaries, podcasts, and more. Each form of nonfiction has its own conventions and objectives for conveying information.
4. Objective and Subjective Perspectives: Nonfiction can adopt either an objective or subjective perspective. Objective nonfiction aims to present information in a neutral, unbiased manner, relying on evidence and logical reasoning. Subjective nonfiction, such as memoirs or personal essays, incorporates the author's personal experiences, opinions, and reflections while still striving for authenticity and honesty.
5. Purpose and Audience: Nonfiction serves various purposes, depending on the genre and intent of the work. It can aim to inform, educate, persuade, document history, analyze, entertain, or advocate for a particular cause. The intended audience may vary, from specialized academic readers to general readers seeking accessible information.
6. Authenticity and Accountability: Nonfiction works are held to higher standards of accuracy and accountability compared to fiction. Authors and creators have a responsibility to ensure the factual integrity of their work and to provide proper citations and references when drawing upon external sources. Misrepresentation, fabrication, or deliberate distortion of facts can undermine the credibility and reliability of nonfiction.
7. Evolution and Interpretation: Nonfiction is not static; it evolves as new discoveries, perspectives, and interpretations emerge. As knowledge advances, nonfiction works are updated, revised, or expanded to reflect the latest understanding of the subject matter. Different interpretations and perspectives may coexist within nonfiction, allowing for ongoing exploration and discussion.

Nonfiction plays a crucial role in providing information, expanding knowledge, fostering critical thinking, and shaping public discourse. It encompasses a wide range of topics, from science, history, and politics to personal narratives and self-help literature. Through nonfiction, individuals can gain insights into the world, deepen their understanding of specific subjects, and engage with real-world issues.

In summary, nonfiction refers to literary works, narratives, or media content that presents factual information and real events. It is rooted in reality, relies on research and documentation, and serves the purpose of informing, educating, or exploring various subjects. Nonfiction plays a vital role in disseminating knowledge, promoting critical thinking, and contributing to our understanding of the world.

Transfiction

Transfiction is the expanse of all fictional continuities with no limits. It is the unbounded access to every fictional continuity.

• Characters that can operate on this scale have no dimensional limitations, and are beyond scientific definition, in the realm of metaphysics and pataphysics. They are qualitatively superior over an absolute infinite multiplicity of beyond-dimensional realms and the concept of beyond-dimensional entirely.
• Characters on this scale supersede the story, plot, and author outside of their narrative, publication, and copyright.
• Characters or fictions that operate on this scale transcend the author and themselves.

Transfictionality is a concept that involves the phenomenon of ‘transfictional identity’. The prefix ‘trans’ in transfictionality highlights the flows, passages, and displacements that can occur across fiction, narrative, and media. Transfictionality implies the transposition of diegetic, narrative, and/or media borders.

In essence, transfictionality explores how characters, narratives, or themes from one fictional work can cross over into another, thereby creating a shared or linked fictional universe. This can involve characters from one narrative appearing in another, themes or settings being shared across works, or narratives being continued or expanded upon across different media.

To operate on a transfictional level means to engage in actions or thought processes that transcend the conventional boundaries of fiction and reality differences. This concept involves moving beyond the formal narrative confines of a single story or fictional universe to explore, interact with, or manipulate multiple layers of fictional and real-world contexts simultaneously.

Fanfiction

Fan fiction or fanfiction is a fictional narrative written in an amateur capacity by fans, unauthorized by, but based on an existing work of fiction. The author uses copyrighted characters, settings, or other intellectual properties from the original creator(s) as a basis for their writing. Fanfiction ranges from a couple of sentences to an entire novel, and fans can both keep the creator's characters and settings and/or add their own. It is a form of fan labor. Fanfiction can be based on any fictional (and occasional non-fictional) subject. Common bases for fan fiction include novels, movies, musical groups, cartoons, anime, manga, and video games.

Metafiction

Metafiction is that which the author self-consciously alludes to the artificiality or literariness of a work by parodying or departing from novelistic conventions (especially naturalism) and traditional narrative techniques.

Metafiction is a literary genre or technique that self-consciously draws attention to its own status as a work of fiction, blurring the line between fiction and reality. It is characterized by its deliberate use of self-referential and self-aware elements, where the narrative openly acknowledges its own fictional nature and calls attention to the process of storytelling.

Here are some key aspects and characteristics of metafiction:

1. Self-Reflection: Metafiction often involves reflection on the nature of fiction and the act of storytelling itself. It draws attention to the techniques, conventions, and limitations of fiction, inviting readers to contemplate the construction of narratives and the relationship between author, text, and reader.
2. Breaking the Fourth Wall: Metafiction frequently breaks the "fourth wall," a theatrical term that refers to the imaginary barrier separating the fictional world from the audience. This can include characters addressing the reader directly, authors interrupting the narrative, or the narrative acknowledging its own existence as a work of fiction.
3. Playful and Experimental Techniques: Metafiction embraces unconventional and playful techniques to challenge traditional narrative structures. It may incorporate footnotes, authorial intrusions, non-linear narratives, nested stories within stories, alternative endings, or other devices that disrupt the traditional expectations of storytelling.
4. Reflexivity and Intertextuality: Metafiction often engages in intertextuality, referencing and alluding to other literary works, historical events, or cultural phenomena. It may explicitly incorporate elements from other texts, inviting readers to make connections and explore layers of meaning. This intertextual approach reinforces the self-referential nature of metafiction.
5. Reader Engagement: Metafiction actively involves the reader in the construction of meaning. By highlighting the artificiality of the narrative and inviting readers to question their role as interpreters, it prompts critical engagement and challenges preconceived notions about the relationship between fiction and reality.
6. Multiple Levels of Reality: Metafiction blurs the boundaries between different levels of reality within the narrative. It may feature stories within stories, fictional characters who are aware of their fictional existence, or narratives that question the reliability of the narrator. These layers of reality enhance the self-awareness and complexity of the metafictional work.
7. Reflection on the Creative Process: Metafiction often explores the creative process itself, offering insights into the author's role, inspiration, and challenges faced during the act of writing. It can shed light on the subjective nature of storytelling, the influence of personal experiences, and the limitations of language as a tool for representation.

Metafiction challenges traditional notions of storytelling and pushes the boundaries of literary conventions. It invites readers to reflect on the nature of fiction, the act of reading, and the ways in which narratives shape our understanding of the world. By blurring the lines between fiction and reality, metafiction encourages an active and critical engagement with the text, fostering a deeper appreciation for the complexities of storytelling.

In summary, metafiction is a literary genre or technique that draws attention to its own fictional nature and the act of storytelling. It reflects on the creative process, breaks the fourth wall, and employs playful and experimental techniques. Metafiction invites readers to question the boundaries between fiction and reality, engage in intertextuality, and actively participate in the construction of meaning.

Patafiction

Patafiction is the world of the ineffable, the unknown, and the unknowable, transcending metaphysical narratives, and the laws and boundaries it encompasses. Patafiction encompasses the solutions to imaginary narratives. Patafiction contains concepts that are so distant from Metaphysical narratives that they operate beyond truth, reality, and everything, even "stories" that exist beyond everything.

Interfiction

Interfiction is that which is between all fiction. In disciplines such as the philosophy of fiction and the knowledge representation of fiction, Interfiction is a distinction that separates fictional concepts from fictional objects which are particular instances of the concept, operating in-between all narrative and narrative elements of experience.

Personal Fiction

Personal Fiction is the narrative of, affecting, or belonging to a particular person rather than to anyone else.

Impersonal Fiction

Impersonal Fiction is the narrative of having no personal reference or connection to any subjective or objective experience - actuality or possibility.

Incompatibilism Fiction

Incompatibilism Fiction is the view that a deterministic fictional universe is completely at odds with the notion that characters have free will, the latter being defined as the capacity of conscious agents to choose a future course of action among several available physical alternatives. Thus, incompatibilism fiction implies that there is a dichotomy between determinism and free will within the plot/story/verse, where the author and character must support at most one or the other, not both.

Impossible Fiction

Impossible Fiction is the worlds and narratives containing them cannot be conceived. These are logically impossible fictions; simply the unthinkable. Impossible Fictions are “the contradictory narratives that cannot be imagined or thought”. In this approach, basic representational capabilities are not limited to the possible: impossible fictional worlds are inaccessible and cannot be conceived, described, or sometimes even believed; they are absolutely impossibilities.

Speculative Fiction

Speculative fiction is a broad category of fiction encompassing genres with elements that do not exist in reality, recorded history, nature, or the present Omniverse. Such fiction covers various themes in the paracontextual reality of supernatural, futuristic, and other imaginative realms.

Speculative fiction is a broad genre of literature that encompasses various subgenres and narratives that explore imaginative or speculative elements. It includes works that depart from the constraints of realism and venture into realms of the possible, the fantastical, or the futuristic. Speculative fiction serves as a platform for authors to speculate, imagine, and contemplate alternative worlds, ideas, and scenarios.

Speculative fiction has a long and rich history, with countless notable works and influential authors shaping the genre. It continues to evolve and expand, reflecting the ever-changing nature of human imagination and the exploration of new ideas and possibilities.

Xenofiction

Xenofiction represents narratives that take the point of view of normal or intelligent animals, or nonhumanoid aliens, with particular attention to differences in perception or outlook.

• Keep in mind that Xenofiction is not synonymous with anthropomorphic.

Universal Genre

Universal Genre is the essence that anyone can figure out what to do, depending on what kind of fiction they are in, and what kind of character they are.

Universal Genre (Genre Fiction and/or Popular Fiction) encompasses "category fiction", which governs the categories that connect with fictional stories and serves as the familiar shelf headings within the fiction section in any Universe. Universal Genre contains fictional works written with the intent of fitting into a specific literary genre, in order to appeal to readers and fans already familiar with that genre.

• The main genres are (but not limited to) crime, fantasy, romance, science fiction, and horror—as well as infinite cardinal, inspirational, and historical fiction.

Universal Trope

Universal Trope is the all-encompassing and underlying nature of stories that tell about subjects that do not exist. Characters, locations, and events may be real within fiction or may be entirely made up, but some element of "Trope" will be present. A trope in literary terms is a plot device or character attribute that is used so commonly in the genre that it's seen as commonplace or conventional. A literary trope is the use of figurative language, via a word, phrase, or image, for artistic effect such as using a figure of speech.

Paratext

In literary interpretation, paratext is material that surrounds a published main text (e.g., the story, non-fiction description, poems, etc.) supplied by the authors, editors, printers, and publishers. Another way to explain it is that the Paratext is everything that is an element of the whole package immediately encompassing the canon and not part of the text itself. In other words, the possibility, totality, and nothingness that isn't a part of the show/movie/story itself, but still comes with it. The stuff on the box or the book, the stuff that comes before the show/movie/story, etc.

Memetic Fiction

Memetic Fiction (The meme) is analogous to a gene, and was conceived as a "unit of culture" (an idea, belief, pattern of behavior, etc.) that is "hosted" in one or more individual minds, and which can reproduce itself, thereby jumping from mind to mind. Thus what would otherwise be regarded as one individual influencing another to adopt a belief is seen—when adopting the intentional stance—as an idea-replicator reproducing itself in a new host. A meme's success may be due to its contribution to the effectiveness of its host. Memetic Fiction sidesteps the concern with the truth of ideas and beliefs.

Transformation Fiction

Transformation Fiction is a genre of fiction depicting a transformation or shapeshifting of one form or another. Whether it's a willing transformation or not depends on the piece of fiction, as well as whether it's reversible or not, and whether they can transform or shapeshift into more than one type of being.

a priori and a posteriori Fiction

a priori and a posteriori Fiction is the narrative of foundations upon which a proposition is known. A given proposition is knowable a priori if it can be known independent of any experience other than the experience of learning the language in which the proposition is expressed, whereas a proposition that is knowable a posteriori is known on the basis of experience.

Cogito ergo sum Fiction

Cogito ergo sum Fiction is a philosophical narrative encompassing the reality-fiction differences of whether or not one exists is, in and of itself, proof that something, an "I", exists to do the thinking — However, this "I" is not the more or less permanent being we call "I". It may be that the something that thinks is purely momentary, and not the same as the something which has a different thought the next moment. This narrative contains the perception of forming a foundation for all knowledge. While other knowledge could be a figment of imagination, deception, or mistake, the very act of doubting one's own existence serves to some beings as proof of the reality of one's own existence, or at least that of one's thought. So in essence, if one can think of it, then narrative exists.

Cosmogony Fiction

Cosmogony Fiction is the collection of any scientific or abstract mathematical theory concerning the coming into existence (or being), or origin, of the cosmos or universe, or about how what sentient beings perceive as "reality" came to be in any fiction.

Linguistic modality Fiction

Linguistic modality Fiction is what allows the readers, writers, and narrative causality to evaluate a proposition relative to a set of other propositions. Linguistic modality Fiction is the phenomenon whereby language is used to actualize possible and impossible situations or events. Quintessential modal expressions include modal auxiliaries such as "could", "should", or "must"; modal adverbs such as "possibly" or "necessarily"; and modal adjectives such as "conceivable" or "probable". However, modal components have been identified in the meanings of countless natural language expressions including counterfactuals, propositional attitudes, evidentials, habituals, and generics. There is a Linguistic modality Fiction for:

• "Should be" Fiction
• "Could be" Fiction
• "Must be" Fiction
• "Possible" Fiction
• "Conceivable" Fiction
• "Probable" Fiction
• Counterfactual Narrative
• Propositional Attitude Narrative
• Evidential Narrative
• Habitual Narrative
• Generic Narrative
• Crosslinguistic Fiction

Linguistic modality Fiction comes in boundless expressions that come in different categories called flavors. Flavors differ in how the possibilities they discuss relate to reality. For instance, an expression like "might" is said to have epistemic flavor, since it discusses possibilities compatible with some entity of knowledge. An expression like "obligatory" is said to have a deontic flavor since it discusses possibilities that are required given the laws or norms obeyed in reality.

Qualia Fiction

Qualia Fiction represents subjective conscious experiences. For every subjective conscious experience, a reality exists. Qualia Fiction is the way things seem to us. Just like there are many definitions of qualia, which have changed over time, there are many definitions of Fiction. Qualia Fiction on the broader scale is 'what it is like' Fiction. For every possibility and impossibility that can be attached to 'what it is like', there exists a fiction or narrative for it. Although qualia are universals, in the sense of being recognized from one to another experience, there is an actualized or possible fiction or narrative that exists that is distinguished from the properties of objects, elements, and chaos.

There are four major properties that are commonly ascribed to Qualia Fiction:

• ineffable; that is, they cannot be communicated, or apprehended by any other means than direct experience.
• intrinsic; that is, they are non-relational properties, which do not change depending on the experience's relation to other things.
• private; that is, all interpersonal comparisons of qualia are systematically impossible.
• directly or immediately apprehensible in consciousness; that is, to experience a qualia is to know one experiences a qualia, and to know all there is to know about that qualia.

If and only if ___Fiction

If and only if Fiction is a transcendental unconditional logical connective between statements, where either both statements are true or both are false. For every statement, there is a fiction that exists.

Meaning (non-linguistic) Fiction

Meaning (non-linguistic) Fiction is an actual or possible narrative derivation from sentience, which is not associated with signs that have any original or primary intent of the communication. It is every fiction and/or narrative that operates as the different senses of the word "meaning", independently from its linguistic uses.

Summum Fiction

Summum Fiction is All things that are imaginable, and all things that are beyond imagination that can be created or self-created. It is the category of types beyond resonation.

Summum Fiction is the creation that creates everything; everybody has a different name for it. Summum Fiction agrees with all of the Names, Terms, Essences, and Unknowables. Summum Fiction is the spectacles or the spectacle of viewpoint, and all created or self-created or uncreated fiction is all correct and they have a perfect place within understanding. Summum Fiction is Total-ness or the All or Being, and then it is the opposite of that which is Nothing or total possibility. These are just philosophical states to Summum Fiction; they are not actual physical states. And if there is a possibility, then there has to be nothing. And if there is nothing, it has to be possible. They automatically create each other. Let's just say there is no existence, no universes, no creation, no dimensions, no nothing. If that is, then it has to be possible for that to be. Those two things are, and they come into bond with each other in a harmonic manner. All things that are imaginable and all things that are beyond imagination are Summum Fiction. It doesn't matter if it is a force, the unspoken word, or that which language fails to describe. It's Summum Fiction.

∀fiction

For All, The All, and THE ALL fiction (all of the aforementioned) above.